UNIVERSITY  OF  CALIFORNIA 
AT   LOS  ANGELES 


THE    MODERN     DRAMA    SERIES 
EDITED    BY    EDWIN    BJORKMAN 


THE    WIDOWING    OF    MRS.    HOLROYD 
D.    H.    LAWRENCE 


THE  WIDOWING  OF 
MRS.  HOLROYD 

A   DRAMA   IN   THREE   ACTS 


BY 

D.  H.  LAWRENCE 


w 


NEW   YORK 

MITCHELL    KENNERLEY 

MCMXIV 


COPYRIGHT    1914    BY 
MITCHELL    KENNERLEY 


THB-PLIMPTON- PRESS 
NORWOOD  •  MASS'  U'S'A 


L-l 


CONTENTS 

PAGE 

Introduction  vii 

The  Widowing  of  Mrs.  Holroyd  1 


^ 


441173 


INTRODUCTION 

Y\.  H.  LAWRENCE  is  one  of  the  most  significant 
^-^  of  the  new  generation  of  writers  just  begin- 
ning to  appear  in  England.  One  of  their  chief  marks 
is  that  they  seem  to  step  forward  full-grown,  without  a 
history  to  account  for  their  maturity.  Another  char- 
acteristic is  that  they  frequently  spring  from  social 
layers  which  in  the  past  had  to  remain  largely  voiceless. 
And  finally,  they  have  all  in  their  blood  what  their  elders 
had  to  acquire  painfully:  that  is,  an  evolutionary  con- 
ception of  life. 

Three  years  ago  the  author  of  "  The  Widowing  of 
Mrs.  Holroyd  "  was  wholly  unknown,  having  not  yet 
published  a  single  work.  To-day  he  has  to  his  credit 
three  novels —  "  The  White  Peacock,"  "The  Tres- 
passer "  and  "  Sons  and  Lovers  "  —  a  collection  of 
verse  entitled  "  Love  Poems,"  and  the  play  contained 
in  this  volume.  All  of  these  works,  but  in  particular 
the  play  and  the  latest  novel,  prove  their  author  a  man 
gifted  with  a  strikingly  original  vision,  a  keen  sense  of 
beauty,  an  equally  keen  sense  of  verbal  values,  and  a 
sincerity  which  makes  him  see  and  tell  the  truth  where 
even  the  most  audacious  used  to  falter  in  the  past. 
Flaubert  himself  was  hardly  less  free  from  the  old  curse 
of  sentimentalizing  compromise  —  and  yet  this  young 
writer  knows  how  to  tell  the  utmost  truth  with  a  dainti- 
ness that  puts  offence  out  of  the  question. 


vili  INTRODUCTION 

He  was  born  twenty-seven  years  ago  in  a  coal-miner's 
cottage  at  the  little  colliery  town  of  Eastwood,  on  the 
border  line  between  Nottingham  and  Derbyshire.  The 
home  was  poor,  yet  not  without  certain  aspirations  and 
refinements.  It  was  the  mother  who  held  it  together, 
who  saved  it  from  a  still  more  abject  poverty,  and  who 
filled  it  with  a  spirit  that  made  it  possible  for  the  boy 
—  her  youngest  son  —  to  keep  alive  the  gifts  still  slum- 
bering undiscovered  within  him.  In  "  Sons  and 
Lovers  "  we  get  the  picture  of  just  such  a  home  and 
such  a  mother,  and  it  seems  safe  to  conclude  that  the 
novel  in  question  is  in  many  ways  autobiographical. 

At  the  age  of  twelve  the  boy  won  a  County  Council 
Scholarship  —  and  came  near  having  to  give  it  up  be- 
cause he  found  that  the  fifteen  pounds  a  year  conferred 
by  it  would  barely  pay  the  fees  at  the  Nottingham 
High  School  and  the  railway  fares  to  that  city.  But 
his  mother's  determination  and  self-sacrifice  carried  him 
safely  past  the  seemingly  impossible.  At  sixteen  he 
left  school  to  earn  his  living  as  a  clerk.  Illness  saved 
him  from  that  uncongenial  fate.  Instead  he  became  a 
teacher,  having  charge  of  a  class  of  colliers'  boys  in 
one  of  those  rough,  old-fashioned  British  schools  where 
all  the  classes  used  to  fight  against  one  another  within 
a  single  large  room.  Before  the  classes  convened  in 
the  morning,  at  eight  o'clock,  he  himself  received  in- 
struction from  the  head-master ;  at  night  he  continued 
his  studies  in  the  little  kitchen  at  home,  where  all  the 
rest  of  the  family  were  wont  to  foregather.  At  nine- 
teen he  found  himself,  to  his  own  and  everybody  else's 
astonishment,  the  first  on  the  list  of  the  King's  Scholar- 
ship examination,  and  from  that  on  he  was,  to  use  his 
own    words,    "  considered    clever."      But    the   lack    of 


INTRODUCTION  ix 

twenty  pounds  needed  in  a  lump  sum  to  pay  the  en- 
trance fee  at  the  training  college  for  teachers  made  it 
impossible  for  him  to  make  use  of  the  gained  advantage. 

Two  years  later,  however,  he  succeeded  in  matricu- 
lating at  the  Nottingham  Day  Training  College.  But 
by  that  time  the  creative  impulse  had  already  begun 
to  stir  within  him,  aided  by  an  early  love  affair,  and  so 
he  wrote  poems  and  worked  at  his  first  novel  when  he 
should  have  been  studying.  At  twenty-three  he  left  the 
college  and  went  to  London  to  teach  school,  to  study 
French  and  German,  and  to  write.  At  twenty-five  he 
had  his  first  novel  —  "  The  White  Peacock  "  —  ac- 
cepted and  printed.  But  the  death  of  his  mother  only 
a  month  before  that  event  made  his  victory  seem  use- 
less and  joyless.  After  the  publication  of  his  second 
novel,  in  1912,  he  became  able  to  give  up  teaching  in 
order  to  devote  himself  entirely  to  his  art.  Out  of  that 
leisure  —  and  perhaps  also  out  of  the  sorrow  caused 
by  the  loss  of  her  who  until  then  had  been  the  main- 
spring of  his  life  —  came  "  Sons  and  Lovers  "  and 
"  The  Widowing  of  Mrs.  Holroyd." 

What  has  struck  me  most  deeply  in  these  two  works 
—  apart  from  their  splendid  craftsmanship  —  is  their 
psychological  penetration,  so  closely  paralleling  the 
most  recent  conclusions  of  the  world's  leading  thinkers. 
In  the  hands  of  this  writer,  barely  emerged  out  of 
obscurity,  sex  becomes  almost  a  new  thing.  Not  only 
the  relationship  between  man  and  woman,  but  also  that 
of  mother  and  child  is  laid  bare  in  a  new  light  which 
startles  —  or  even  shocks  —  but  which  nevertheless 
compels  acceptance.  One  might  think  that  Mr.  Law- 
rence had  carefully  studied  and  employed  the  very 
latest  theories  of  such  men  as  Freud,  for  instance,  and 


\ 


INTRODUCTION 


yet  it  is  a  pretty  safe  bet  that  most  of  his  studies  have 
been  carried  on  in  his  own  soul,  within  his  own  memo- 
ries. Thus  it  is  proved  once  more  that  what  the  student 
gropingly  reasons  out  for  abstract  formulation  is 
flashed  upon  the  poetic  dreamer  in  terms  of  living 
reality. 

Another  thing  that  has  impressed  me  is  the  aspect  in 
which  Mr.  Lawrence  presents  the  home  life  of  those 
hitherto  submerged  classes  which  are  now  at  last  reach- 
ing out  for  a  full  share  in  the  general  social  and  cul- 
tural inheritance.  He  writes  of  that  life,  not  only  with 
a  knowledge  obtained  at  first  hand,  but  with  a  sympathy 
that  scorns  any  apologetic  phrase-mongering.  Having 
read  him,  one  feels  inclined  to  conclude,  in  spite  of  all 
conflicting  testimony,  that  the  slum  is  not  a  location, 
but  a  state  of  mind,  and  that  everywhere,  on  all  levels, 
the  individual  soul  may  create  around  itself  an  atmos- 
phere expressive  of  its  ideals.  A  book  like  "  Sons  and 
Lovers  "  ought  to  go  far  to  prove  that  most  of  the 
qualities  held  peculiar  to  the  best  portion  of  the  "  rul- 
ing classes  "  are  nothing  but  the  typical  marks  of  nor- 
mal humanity. 

Edwin  Bjorkman. 


THE  WIDOWING  OF  MRS.  HOLROYD 


PERSONS 

Mrs.  Holroyd 

HOLROYD 

Blackmore 
Jack  Holroyd 
Minnie  Holroyd 
Grandmother 

RiGLEY 

C1.ARA 
Laura 
Manager 
Two  Miners 


THE    WIDOWING    OF    MRS. 
HOLROYD 

THE    FIRST   ACT 

SCENE    I 

The  Jcitchen  of  a  miner^s  small  cottage.  On  the  left 
is  the  fireplace,  with  a  deep,  full  red  fire.  At  the  hack 
is  a  white-ciirtained  window,  and  beside  it  the  outer 
door  of  the  room.  On  the  right,  two  white  wooden 
stairs  intrude  into  the  kitchen  below  the  closed  stair- 
foot  door.     On  the  left,  another  door. 

The  room  is  furnished  with  a  chintz-backed  sofa  un- 
der the  window,  a  glass-knobbed  painted  dresser  on  the 
right,  and  in  the  centre,  toward  the  fire,  a  table  with 
a  red  and  blue  check  tablecloth.  On  one  side  of  the 
hearth  is  a  xvooden  rocking-chair,  on  the  other  an  arm- 
chair of  round  staves.  An  unlighted  copper-shaded 
lamp  hangs  from  the  raftered  ceiling.  It  is  dark  twi- 
light, with  the  room  full  of  warm  fireglow.  A  woman 
enters  from  the  outer  door.  As  she  leaves  the  door 
open  behind  her,  the  collier 7^  rail  can  be  seen  not  far 
from  the  threshold,  and,  away  back,  the  headstocks  of 
a  pit. 

The  woman  is  tall  and  voluptuously  built.  She 
carries  a  basket  heaped  full  of  washing,  which  she  has 
just  taken  from  the  clotheslines  outside.  Setting 
down  the  basket  heavily,  she  feels  among  the  clothes. 


4  MRS.    HOLROYD  [act  i 

She  lifts  out  a  white  heap  of  sheets  and  other  linen, 
setting  it  on  the  table;  then  she  takes  a  woollen  shirt 
m  her  hand, 

MRS.  HOLROYD  (aloud,  to  herself) 

You  know  they  're  not  dry  even  now,  though  it 's 
been  as  fine  as  it  has.  (She  spreads  the  shirt  on  the 
back  of  her  rocking-chair,  which  she  turns  to  the 
fire) 

VOICE  (calling  from  outside) 
Well,  have  you  got  them  dry? 

l^Mrs.  Holroyd  starts  up,  turns  and  flings  her  hand 
in  the  direction  of  the  open  door,  where  appears  a 
man  in  blue  overalls,  swarf ed  and  greased.  He  car- 
ries a  dinner-basket, 

MRS.   HOLROYD 

You  —  you  —  I  don't  know  what  to  call  you !  The 
idea  of  shouting  at  me  like  that  —  like  the  Evil  One 
out  of  the  darkness ! 

BLACKMORE 

I  ought  to  have  remembered  your  tender  nerves. 
Shall  I  come  in? 

MRS.    HOLROYD 

No  —  not  for  your  impudence.  But  you  're  late, 
are  n't  you? 

BLACKMORE 

It 's  only  just  gone  six.     We  electricians,  you  know, 
we  're  the  gentlemen  on  a  mine :    ours  is  gentlemen's 
work.    But  I  '11  bet  Charles  Holroyd  was  home  before 
four. 
MRS.  HOLROYD  (bitterly) 

Ay,  and  gone  again  before  five. 


SCENE  i]  MRS.    HOLROYD  5 

BLACKMOEE 

But  mine's  a  lad's  job,  and  I  do  nothing!  — 
Where  's  he  gone? 

MRS.    HOLEOYD    (cOTltemptUOUslT/) 

Dunno  !  He  'd  got  a  game  on  somewhere  —  toffed 
himself  up  to  the  nines,  and  skedaddled  off  as  brisk 
as  a  turkey-cock.  (She  smirks  in  front  of  the  mirror 
hanging  on  the  chimnei/-piecey  in  imitation  of  a  man 
brushing  his  hair  amd  moustache  and  odmirvng  him- 
self) 

BLACKMORE 

Though  turkey-cocks  are  n't  brisk  as  a  rule.     Chil- 
dren playing? 
MRS.  HOLROYD  {recovering  herself,  coldly) 

Yes.  And  they  ought  to  be  in.  {She  continues  plac- 
ing the  flannel  garments  before  the  fire,  on  the  fender 
and  on  chair-backs,  till  the  stove  is  hedged  in  with 
a  steaming  fence;  then  she  takes  a  sheet  in  a  bundle 
from  the  table,  and  going  up  to  Blackmore,  who 
stands  watching  her,  says)  Here,  take  hold,  and  help 
me  fold  it. 

BLACKMORE 

I  shall  swarf  it  up. 

MRS.  HOLROYD  {snatching  back  the  sheet) 
Oh,  you  're  as  tiresome  as  everybody  else. 

BLACKMORE  {putting  down  his  basket  and  moving  to 
door  on  right) 
Well,  I  can  soon  wash  my  hands. 

MRS.  HOLROYD  {ccasing  to  flap  and  fold  pillowcases) 
That  roller-towel 's  ever  so  dirty.     I  '11  get  you  an- 
other.  {She  goes  to  a  drawer  in  the  dresser,  and  then 
back  toward  the  scullery,  where  is  a  sound  of  water) 


6  MRS.    HOLROYB  [act  i 

BLACKMORE 

Why,  bless  my  life,  I  'm  a  lot  dirtier  than  the  towel. 

I  don't  want  another. 
MRS.  HOLROYD  (golng  into  the  scullery) 

Here  you  are. 
BLACKMORE  (softly,  Tiow  sJic  IS  near  him) 

Why  did  you  trouble  now?    Pride,  you  know,  pride, 

nothing  else. 

MRS.  HOLROYD  (^olsO  pla^ful) 

It 's  nothing  but  decency. 

BLACKMORE  (softl^) 

Pride,  pride,  pride ! 

\_A  child  of  eight  suddenly  appears  in  the  doorway. 

JACK 

Oo,  how  dark ! 

MRS.  HOLROYD  {hurrying  agitated  into  the  kitchen) 
Why,  where  have  you  been  —  what  have  you  been  do- 
ing now? 

JACK  {surprised) 

Why  —  I  've  only  been  out  to  play. 

MRS.  HOLROYD  {stUl  sharply) 
And  where  's  Minnie? 
[A  little  girl  of  six  appears  by  the  door, 

MINNIE 

I  'm  here,  mam,  and  what  do  you  think  —  ? 
MRS.  HOLROYD  (softcning,  as  she  recovers  equanimity) 
Well,  and  what  should  I  think? 

JACK 

Oh,  3^es,  mam  —  you  know  my  father  — ? 
MRS.  HOLROYD  (ironically) 
I  should  hope  so. 

MINNIE 

We  saw  him  dancing,  mam,  with  a  paper  bonnet. 


SCENE  i]  MRS.    HOLROYD  7 

MRS.    HOLROYD 

What  —  ? 

JACK 

There  's  some  women  at  "  New  Inn,"  what 's  come 
from  Nottingham  — 

MINNIE 

An'  he  's  dancin'  with  the  pink  one. 

JACK 

Shut  up  our  Minnie.  An'  they  've  got  paper  bonnets 
on  — 

MINNIE 

All  colors,  mam ! 
JACK  (getting  angry) 

Shut  up  our  Minnie !  An'  my  dad  's  dancing  with 
her. 

MINNIE 

With  the  pink-bonnet  one,  mam. 

JACK 

Up  in  the  club-room  over  the  bar. 

MINNIE 

An'  she  's  a  lot  littler  than  him,  mam. 
JACK  (piteously) 

Shut  up  our  Minnie —  An'  you  can  see  'em  go  past 
the  window,  'cause  there  is  n't  no  curtains  up,  an' 
my  father  's  got  the  pink  bonnet  one  — 

MINNIE 

An'  there  's  a  piano,  mam  — 

JACK 

An'  lots   of   folks   outside  watchin',  lookin'   at   my 
dad!     He  can  dance,  can't  he,  mam? 
MRS.  HOLROYD   (sJie  lias  been  lighting  the  lampy  and 
holds  the  lamp-glass) 
And  who  else  is  there? 


8  MRS.    HOLROYD  [act  i 

MINNIE 

Some  more  men  —  an'  all  the    women    with    paper 
bonnets  on. 

JACK 

There 's    about   ten,   I   should   think,   an'   they   say 
they  came  in  a  brake  from  Nottingham. 
l^Mrs.  Holroyd,  trying  to  replace  the  lamp-glass  over 
the  flame,  lets  it  drop  on  the  floor  with  a  smash. 

JACK 

There,  now  —  now  we  '11  have  to  have  a  candle. 
BLACKMORE   (appearing  in  the  scullery  doorway  with 
the  towel)    What 's  that  —  the  lamp-glass.'* 

JACK 

I  never  knowed  Mr.  Blackmore  was  here. 
BLACKMORE  (to  Mrs.  Holroyd) 
Have  you  got  another? 

MRS.    HOLROYD 

No.    {There  is  silence  for  a  moment)    We  can  man- 
age with  a  candle  for  to-night. 
BLACKMORE    (stepping   forward  and   blowing   out   the 
smoJcy  flatne)    I  '11  see  if  I  can't  get  you  one  from  the 
pit.     I  shan't  be  a  minute. 

MRS.    HOLROYD 

Don't  —  don't  bother  —  I  don't  want  you  to. 
[He,  however,  unscrews  the  burner  and  goes, 

MINNIE 

Did  Mr.  Blackmore  come  for  tea,  mam.? 

MRS.    HOLROYD 

No ;  he  's  had  no  tea. 

JACK 

I  bet  he  's  hungry.     Can  I  have  some  bread? 


SCENE  i]  MRS.    HOLROYD  9 

MRS.  HOLROYD  (sJic  stauds  a  lighted  candle  on  the 
table)  Yes,  and  you  can  get  your  boots  off  to  go 
to  bed. 

JACK 

It 's  not  seven  o'clock  yet. 

MRS.    HOLROYD 

It  does  n't  matter. 

MINNIE 

What  do  they  wear  paper  bonnets  for,  mam? 

MRS.    HOLROYD 

Because  they  're  brazen  hussies. 

JACK 

I  saw  them  having  a  glass  of  beer. 

MRS.    HOLROYD 

A  nice  crew! 

JACK 

They  say  they  are  old  pals  of  Mrs.  Meakins.  You 
could  hear  her  screaming  o'  laughin',  an'  my  dad 
says :  "  He-ah,  missis  —  here  —  a  dog's-nose  for  the 
Dachess  —  hopin'  it  '11  smell  samthing  "  —  What 's 
a  dog's-nose? 
MRS.  HOLROYD  (giviug  him  a  piece  of  bread  and  butter) 
Don't  ask  me,  child.     How  should  I  know.? 

MINNIE 

Would  she  eat  it,  mam? 

MRS.    HOLROYD 

Eat  what? 

MINNIE 

Her  in  the  pink  bonnet  —  eat  the  dog's  nose? 

MRS.    HOLROYD 

No,  of  course  not.    How  should  I  know  what  a  dog's- 
nose  is? 


10  MRS.    HOLROYD  [act  i 

JACK 

I  bet  he  '11  never  go  to  work  to-morrow,  mother  — 
will  he? 

MRS.    HOLROYD 

Goodness  knows.  I  'm  sick  of  it  —  disgracing  me. 
There  '11  be  the  w^hole  place  cackling  this  now. 
They  've  no  sooner  finished  about  him  getting  taken 
up  for  fighting  than  they  begin  on  this.  But  I  '11 
put  a  stop  to  it  some  road  or  other.  It 's  not  going 
on,  if  I  know  it :  it  is  n't. 
\_She  stops,  hearing  footsteps,  and  Blackmore  enters, 

BLACKMORE 

Here  we  are  then  —  got  one  all  right. 

MINNIE 

Did  they  give  it  you,  Mr.  Blackmore.^ 

BLACKMORE 

No,  I  took  it. 

[^He  screws  on  the  burner  and  proceeds  to  light  the 
lamp.  He  is  a  tall,  slender,  mobile  man  of  twenty- 
seven,  brown-haired,  dressed  in  bliie  overalls.  Jack 
Holroyd  is  a  big,  dark,  rttddy,  lusty  lad.  Minnie  is 
also  big,  but  fair. 

MINNIE 

What  do  you  wear  blue  trousers  for,  Mr.  Blackmore? 

BLACKMORE 

They  're  to  keep  my  other  trousers  from  getting 
greasy. 

MINNIE 

Why  don't  you  wear  pit-breeches,  like  dad's? 

JACK 

'Cause  he 's  a  'lectrician.  Could  you  make  me  a 
little  injun  what  would  make  electric  light? 


SCENE  i]  MRS.    HOLROYD  11 

BLACKMORE 

I  will,  some  day, 

JACK 

When? 

MINNIE 

Why  don't  you  come  an'  live  here? 
BLACKMORE  (lookiTig  swiftly  at  Mrs,  Holroyd) 

Nay,  you  've  got  your  own  dad  to  live  here. 
MINNIE  (^plaintively) 

Well,  you   could  come  as   well.      Dad   shouts   when 

we  've    gone    to    bed,    an'    thumps    the    table.     He 

would  n't  if  you  was  here. 

JACK 

He  durs  n't  — 

MRS.    HOLROYD 

Be  quiet  now,  be  quiet.    Here,  Mr.  Blackmore.     {She 
again  gives  him  the  sheet  to  fold) 

BLACKMORE 

Your  hands  are  cold. 

MRS.    HOLROYD 

Are  they  ?  —  I  did  n't  know. 
[Blackmore  puts  his  hand  on  hers, 
MRS.  HOLROYD  (confusedly,  looking  aside) 
You  must  want  your  tea. 

BLACKMORE 

I  'm  in  no  hurry. 

MRS.    HOLROYD 

Selvidge  to   selvidge.      You  '11  be  quite   a  domestic 
man,  if  you  go  on. 

BLACKMORE 

Ay. 

[They  fold  the  two  sheets. 


12  MRS.    HOLROYD  [act  i 

BLACKMORE 

They  are  white,  your  sheets ! 

MRS.    HOLROYD 

But  look  at  the  smuts  on  them  —  look!  This  vile 
hole !  I  'd  never  have  come  to  live  here,  in  all  the 
thick  of  the  pit-grime,  and  lonely,  if  it  had  n't  been 
for  him,  so  that  he  should  n't  call  in  a  public-house 
on  his  road  home  from  work.  And  now  he  slinks 
past  on  the  other  side  of  the  railway,  and  goes  down 
to  the  New  Inn  instead  of  coming  in  for  his  dinner. 
I  might  as  well  have  stopped  in  Bestwood. 

BLACKMORE 

Though  I  rather  like  this  little  place,  standing  by 
itself. 

MRS.   HOLROYD 

Jack,  can  you  go  and  take  the  stockings  in  for  me? 
They  're  on  the  line  just  below  the  pigsty.  The 
prop  's  near  the  apple-tree  —  mind  it.  Minnie,  you 
take  the  peg-basket. 

MINNIE 

Will  there  be  any  rats,  mam? 

MRS.    HOLROYD 

Rats  —  no.     They  '11  be  frightened  when  they  hear 
you,  if  there  are. 
\_The  children  go  out, 

BLACKMORE 

Poor  little  beggars ! 

MRS.    HOLROYD 

Do  you  know,  this  place  is  fairly  alive  with  rats. 
They  run  up  that  dirty  vine  in  front  of  the  house  — 
I  'm  always  at  him  to  cut  it  down  —  and  you  can  hear 
them  at  night  overhead  like  a  regiment  of  soldiers 
tramping.     Really,  you  know,  I  hate  them. 


SCENE  i]  MRS.    HOLROYD  13 

BLACKMORE 

Well  —  a  rat  is  a  nasty  thing ! 

MRS.    HOLROYD 

But  I  s'll  get  used  to  them.  I  'd  give  anything  to 
be  out  of  this  place. 

BLACKMORE 

It  is  rotten,  when  you  're  tied  to  a  life  you  don't 
like.  But  I  should  miss  it  if  you  were  n't  here. 
When  I  'm  coming  down  the  line  to  the  pit  in  the 
morning  —  it 's  nearly  dark  at  seven  now  —  I 
watch  the  fire-light  in  here  —  Sometimes  I  put  my 
hand  on  the  wall  outside  where  the  chimney  runs  up 
to  feel  it  warm  —  There  is  n't  much  in  Bestwood, 
is  there? 

MRS.    HOLROYD 

There  's  less  than  nothing  if  you  can't  be  like  the 
rest  of  them  —  as  common  as  they  're  *made. 

BLACKMORE 

It 's  a  fact  —  particularly  for  a  woman  —  But 
this  place  is  cosy  —  God  love  me,  I  'm  sick  of 
lodgings. 

MRS.    HOLROYD 

You  '11  have  to  get  married  —  I  'm  sure  there  are 
plenty  of  nice  girls  about. 

BLACKMORE 

Are  there.'*    I  never  see  'em.     (He  laughs) 

MRS.    HOLROYD 

Oh,  come,  you  can't  say  that. 

BLACKMORE 

I  've  not  seen  a  single  girl  —  an  unmarried  girl  — 
that  I  should  want  for  more  than  a  fortnight  —  not 
one. 


14  MRS.    HOLROYD  [act  i 

MRS.    HOLEOYD 

Perhaps  you  're  very  particular. 

^She  puts  her  two  palms  on  the  table  and  leans  back. 

He  draws  near  to  her,  dropping  his  head, 

BLACKMORE 

Look  here ! 

\^He  has  put  his  hand  on  the  table  near  hers, 

MRS.    HOLROYD 

Yes,  I  know  you  Ve  got  nice  hands  —  but  you 
need  n't  be  vain  of  them. 

BLACKMORE 

No  —  it 's  not  that  —  But  don't  they  seem  — 
(he  glances  swiftly  at  her;  she  turns  her  head  aside; 
he  laughs  nervously)  —  they  sort  of  go  well  with 
one  another.     {He  laughs  again) 

MRS.  HOLROYD 

They  do,  rather  — 

[They  stand  still,  near  one  another,  with  bent  heads, 
for  a  moment.  Suddenly  she  starts  up  and  draws 
her  hand  away, 

BLACKMORE 

Why  —  what  is  it  ? 

\She  does  not  answer.  The  children  come  in  —  Jach 
with  an  armful  of  stockings,  Minnie  with  the  basket 
of  pegs. 

JACK 

I  believe  it 's  freezing,  mother. 

MINNIE 

Mr.  Blackmore,  could  you  shoot  a  rat  an'  hit  it.? 
BLACKMORE  (laughing) 

Shoot  the  lot  of  'em,  like  a  wink. 


SCENE  i]  MRS.    HOLROYD  15 

MRS.    HOLROYD 

But  you  've  had  no  tea.     What  an  awful  shame  to 
keep  you  here! 

BLACKMORE 

Nay,  I  don't  care.     It  never  bothers  me. 

MRS.    HOLROYD 

Then  you  're  different  from  most  men. 

BLACKMORE 

All  men  are  n't  alike,  you  know. 

MRS.    HOLROYD 

But  do  go  and  get  some  tea. 
MixxiE  (plaintively) 

Can't  you  stop,  Mr.  Blackmore.'* 

BLACKMORE 

Why,  Minnie.? 

MINNIE 

So  's  we  're  not  frightened.    Yes,  do.    Will  you.'* 

BLACKMORE 

Frightened  of  what.'^ 

MINNIE 

'Cause  there  's  noises,  an'  rats,  —  an'  perhaps  dad  '11 
come  home  and  shout. 

BLACKMORE 

But  he  'd  shout  more  if  I  was  here. 

JACK 

He  does  n't  when  my  uncle  John  's  here.     So  you 
stop,  an'  perhaps  he  won't. 

BLACKMORE 

Don't  you  like  him  to  shout  when  you  're  in  bed.? 
{^They  do  not  answer,  but  look  seriously  at  him. 

CURTAIN 


16  MRS.    HOLROYD  [act  i 


SCENE    II 

The  same  scene^  two  hours  later.  The  clothes  are 
folded  in  little  piles  on  the  table  and  the  sofa.  Mrs. 
Holroyd  is  folding  a  thick  flannel  undervest  or  singlet 
which  her  husband  wears  in  the  pit  and  which  has  just 
dried  on  the  fender. 

MRS.  HOLROYD  {to  hcrself) 

Now  thank  goodness  they  're  all  dried.  It 's  only 
nine  o'clock,  so  he  won't  be  in  for  another  two  hours, 
the  nuisance.  (She  sits  on  the  sofa,  letting  her 
arms  hang  down  in  dejection.  After  a  minute  or  two 
she  jumps  up,  to  begin  rudely  dropping  the  piles  of 
washed  clothes  in  the  basket)  I  don't  care,  I  'm  not 
going  to  let  him  have  it  all  his  way  —  no  !  (She  weeps 
a  little,  fiercely,  drying  her  eyes  on  the  edge  of  her 
white  apron)  Why  should  /  put  up  with  it  all?  —  He 
can  do  what  he  likes.  But  I  don't  care,  no,  I  don't  — 
[She  flings  down  the  full  clothes-basket,  sits  sud- 
denly in  the  rocking-chair,  and  weeps.  There  is  the 
sound  of  coarse,  bursting  laughter,  in  vain  subdued, 
and  a  man^s  deep  guffaws.  Footsteps  draw  near. 
Suddenly  the  door  opens,  and  a  little,  plump,  pretty 
woman  of  thirty,  in  a  close-fitting  dress  and  a  giddy, 
frilled  bonnet  of  pink  paper,  stands  perkily  in  the 
doorway.  Mrs.  Holroyd  springs  up:  her  small,  sen- 
sitive nose  is  inflamed  with  weeping,  her  eyes  are  wet 
and  flashing.     She  fronts  the  other  woman. 

CLARA  (with  a  pert  smile  and  a  jerk  of  the  head) 
Good  evenin' ! 


SCENE  n]  MRS.    HOLROYD  17 

MRS.  HOLFOYD 

What  do  you  want? 

CLARA  (she  has  a  Yorkshire  accent) 

Oh,  we  've  not  come  beggin'  —  this  is  a  visit. 
l^She  stuffs  her  handkerchief  in  front  of  her  mouth 
in  a  little  snorting  hurst  of  laughter.     There  is  the 
sound  of  another  woman  behind  going  off  into  uncon- 
trollable laughter,  while  a  man  guffaws, 

MRS.  HOLROYD  (after  a  moment  of  impotence — tragi- 
cally/)    What  —  ! 

CLARA  (faltering  slightly,  affecting  a  polite  tone) 
We  thought  we  'd  just  call  — 

\_She  stuffs  her  handkerchief  in  front  of  her  explosive 
laughter  —  the  other  woman  shrieks  again,  beginning 
high,  and  running  down  the  scale, 

MRS.   HOLROYD 

What  do  you  mean  ?  —  What  do  you  want  here  ? 
CLARA  (she  bites  her  lip) 

We  don't  want  anything,  thanks.    We  've  just  called. 

(She  begins   to  laugh  again  —  so  does   the  other) 

Well,  I  don't  think  much  of  the  manners  in  this  part 

of  the  country.      (She  takes  a  few  hesitating  steps 

into  the  kitchen) 
MRS.  HOLROYD  (trying  to  shut  the  door  upon  her) 

No,  you  are  not  coming  in. 
CLARA  (preventing  her  closing  the  door) 

Dear  me,  what  a  to-do!     (She  struggles  with  the 

door.     The  other  woman  comes  up  to  help;  a  man 

is  seen  in  the  background) 

LAURA 

My  word,  are  n't  we  good  enough  to  come  in? 
[Mrs.  Holroyd,  finding  herself  confronted  by  what 


18  MRS.    HOLROYD  [act  i 

seems  to  her  excitement  a  crowd,  releases  the  door 
and  draws  back  a  little  —  almost  in  tears  of  anger, 

MRS.   HOLROYD 

You  have  no  business  here.    What  do  you  want  ? 

CLARA  {putting  her  bonnet  straight  and  entering  in 
brisk  defiance)  I  tell  you  we  've  only  come  to  see 
you.  (She  looks  round  the  kitchen,  then  makes  a 
gesture  toward  the  armchair)  Can  I  sit  here? 
(She  plumps  herself  down)  Rest  for  the  weary. 
[^A  woman  and  a  man  have  followed  her  into  the  room. 
Laura  is  highly  colored,  stout,  some  forty  years  old, 
wears  a  blue  paper  bonnet,  and  looks  like  the  landlady 
of  a  public-house.  Both  she  and  Clara  wear  much 
jewellery.  Laura  is  well  dressed  in  a  blue  cloth 
dress.  Holroyd  is  a  big  blond  man.  His  cap  is 
pushed  back,  and  he  looks  rather  tipsy  and  lawless. 
He  has  a  heavy  blond  moustache.  His  jacket  and 
trousers  are  black,  his  vest  gray,  and  he  wears  a  turn- 
down collar  with  dark  bow. 

LAURA  (sitting  down  in  a  chair  on  right,  her  hand  on 
her  bosom,  panting)   I  've  laughed  till  1  feel  fair  bad. 

CLARA 

'Ave  n't  you  got  a  drop  of  nothink  to  offer  us, 
mester?  Come,  you  are  slow.  I  should  'ave  thought 
a  gentleman  like  you  would  have  been  out  with  the 
glasses  afore  we  could  have  got  breaths  to  ask  you. 

HOLROYD  (clumsily) 

I  dunna  believe  there  's  owt  in  th'  'ouse  but  a  bottle 
of  stout. 

CLARA  (putting  her  hand  on  her  stomach) 
It  feels  as  if  th'  kettle  's  going  to  boil  over. 
[She  stuffs  her  handkerchief  in  front  of  her  mouth, 
throws  bach  her  head,  and  snorts  with  laughter,  hav- 


SCENE  ii]  MRS.    HOLROYD  19 

ing  now  regained  her  confidence.     Laura  laughs  in 
the  last  state  of  exhaustion,  her  hand  on  her  breast. 

HOLROYD 

Shall  ta  ha'e  it  then? 

CLARA 

What  do  you  say,  Laura  —  are  you  having  a  drop  ? 

LAURA  {submissively,  and  naturally  tongue-tied) 
Well  —  I  don't  mind  —  I  will  if  you  do. 

CLARA  {recklessly) 

I  think  we  '11  'ave  a  drop,  Charlie,  an'  risk  it.  It  '11 
'appen  hold  the  rest  down. 

[There  is  a  moment  of  silence,  while  Holroyd  goes 
into  the  scullery.  Clara  surveys  the  room  and  the 
dramatic  pose  of  Mrs,  Holroyd  curiously, 

HOLROYD  {suddenly) 

Heh !    What,  come  'ere  — ! 

[There  is  a  smash  of  pots,  and  a  rat  careers  out  of 
the  scullery.  Laura,  the  first  to  see  it,  utters  a 
scream,  but  is  fastened  to  her  chair,  unable  to  move, 

CLARA  {jumps  up  to  the  table,  crying) 

It 's  a  rat  —  Oh,  save  us  !  {She  scrambles  up,  bang- 
ing her  head  on  the  lamp,  which  swings  violently) 

MRS.  HOLROYD  {who,  with  a  little  shrielc,  jerks  her  legs 
up  on  to  the  sofa,  where  she  was  stiffly  reclining, 
now  cries  in  despairing  falsetto,  stretching  forth  her 
arms)  The  lamp  —  mind,  the  lamp ! 
[Clara  steadies  the  lamp,  and  holds  her  hand  to  her 
head. 

HOLROYD  {coming  from  the  scullery,  a  bottle  of  stout 
in  his  hand)   Where  is  he? 

CLARA 

I  believe  he  's  gone  under  the  sofa.     My,  an'  he  's 


20  MRS.    HOLROYD  [act  i 

a  thumper,  if  you  like,  as  big  as  a  rabbit. 
[^Holroyd  advances  cautiously  toward  the  sofa, 
LAURA  {springing  suddenly  into  life) 

Hi,  hi,  let  me  go  —  let  me  go  —  Don't  touch  him  — ' 
Where  is  he?  {She  flees  and  scrambles  onto  Clara's 
armchair,  catching  hold  of  the  latter' s  skirts) 

CLARA 

Hang  off  —  do  you  want  to  have  a  body  down  — - 
Mind,  I  tell  you. 
MRS.  HOLROYD  (bunchcd  up  on  the  sofa,  with  crossed 
hands  holding  her  arms,  fascinated,  watches  her  hus- 
band as  he  approaches  to  stoop  and  attack  the  rat; 
she  suddenly  screams)     Don't,  he  '11  fly  at  you! 

HOLROYD 

He  '11  not  get  a  chance. 

MRS.    HOLROYD 

He  will,  he  will  —  and  they  're  poisonous !  (She  ends 
on  a  very  high  note.  Leaning  forward  on  the  sofa 
as  far  as  she  dares,  she  stretches  out  her  arms  to 
keep  back  her  husband,  who  is  about  to  kneel  and 
search  wnder  the  sofa  for  the  rat) 

HOLROYD 

Come  off,  I  canna  see  him. 

MRS.    HOLROYD 

I  won't  let  you ;  he  '11  fly  at  you. 

HOLROYD 

I  '11  settle  him  — 

MRS.    HOLROYD 

Open  the  door  and  let  him  go. 

HOLROYD 

I  shonna.  I  '11  settle  him.  Shut  thy  claver.  He  '11 
non  come  anigh  thee. 


SCENE  ii]  MRS.    HOLROYD  21 

\^He  kneels  down  and  begins  to  creep  to  the  sofa. 
With  a  great  hound,  Mrs.  Holroyd  flies  to  the  door 
and  flings  it  open.  Then  she  rushes  hack  to  the 
couch, 

CLARA 

There  he  goes ! 
HOLROYD  {simultaneously) 

Hi! —  Ussza!  {He  flings  the  bottle  of  stout  out 
of  the  door) 

LAURA  {piteously) 
Shut  the  door,  do. 

[Holroyd  rises,  dusting  his  trousers*  knees,  and  closes 
the  door,  Laura  heavily  descends  and  drops  in  the 
chair, 

CLARA 

Here,  come  an'  help  us  down,  Charlie.  Look  at  her ; 
she  's  going  off.  {Though  Laura  is  still  purple  red, 
she  sinks  back  in  the  chair.  Holroyd  goes  to  the 
table,  Clara  places  her  hands  on  his  shoulders  and 
jumps  lightly  down.  Then  she  pushes  Holroyd  with 
her  elbow)  Look  sharp,  get  a  glass  of  water. 
[^She  unfastens  Laura's  collar  and  pulls  off  the  paper 
bonnet.  Mrs.  Holroyd  sits  up,  straightens  her  cloth- 
ing, and  tries  to  look  cold  and  contemptuous.  Hol- 
royd brings  a  cup  of  water.  Clara  sprinkles  her 
friend's  face.  Laura  sighs  and  sighs  again  very 
deeply,  then  draws  herself  up  painfully, 

CLARA  {tenderly) 

Do  you  feel  any  better  —  shall  you  have  a  drink  of 
water?  {Laura  mournfully  shakes  her  head;  Clara 
turns  sharply  to  Holroyd)  She  '11  'ave  a  drop  o' 
something.     {Holroyd  goes  out,     Clara  meanwhile 


22  MRS.    HOLROYD  [act  i 

fans  her  friend  with  a  handkerchief .  Holroyd  brings 
stout.  She  pours  out  the  stout,  smells  the  glass, 
smells  the  bottle — then  finally  the  cork)  Eh, 
mester,  it 's  all  of  a  work  —  it 's  had  a  foisty  cork. 
[At  that  instant  the  stairfoot  door  opens  slowly, 
revealing  the  children  —  the  girl  peering  over  the 
boy^s  shoulder  —  both  in  white  nightgowns.  Every- 
body starts,  Laura  gives  a  little  cry,  presses  her 
hand  on  her  bosom,  and  sinks  back,  gasping, 

CLARA  {appealing  and  anxious,  to  Mrs.  Holroyd) 
You  don't  'appen  to  'ave  a  drop  of  brandy  for  her, 
do  you,  missis? 

[Mrs.  Holroyd  rises  coldly  without  replying,  and 
goes  to  the  stairfoot  door  where  the  children  stand, 

MRS.  HOLROYD  (stemly,  to  the  children) 
Go  to  bed! 

JACK 

What 's  a  matter,  mother.'* 

MRS.    HOLROYD 

Never  you  mind,  go  to  bed! 
CLARA  (appealingly) 
Be  quick,  missis. 

[Mrs.  Holroyd,  glancing  round,  sees  Laura  going 
purple,  and  runs  past  the!  children  upstairs.  The 
boy  and  girl  sit  on  the  lowest  stair.  Their  father 
goes  out  of  the  house,  shamefaced.  Mrs.  Holroyd 
ru/ns  downstairs  with  a  little  brandy  in  a  large  bottle, 

CLARA 

Thanks,  awfully.  {To  Laura)  Come  on,  try  an' 
drink  a  drop,  there  's  a  dear. 

[They  administer  brandy  to  Laura.  The  children 
sit  watching,  open-eyed.    The  girl  sta/nds  up  to  look. 


SCENE  ii]  MRS.    HOLROYD  23 

MINNIE  {whispering) 

I  believe  it 's  blue  bonnet. 
JACK  (whispering) 

It  is  n't  —  she  's  in  a  fit. 
MINNIE  (whispering) 

Well,  look  under  th'  table  —  (Jack  peers  under)  — 

there  's   'er  bonnet.     (Jack  creeps  forward)     Come 

back,  our  Jack. 
JACK  (returns  with  the  honnert) 

It 's  all  made  of  paper. 

MINNIE 

Let 's  have  a  look  —  it 's  stuck  together,  not  sewed. 
[She  tries  it  on.     Holroyd  enters  —  he  looks  at  the 
child, 
MRS.  HOLROYD  (sharply,  glancing  round) 
Take  that  off! 

[Minnie  hurriedly  takes  the  bonnet  from  her  head. 
Her  father  snatches  it  from  her  and  puts  it  on  the 
fire, 

CLARA 

There,  you  're  coming  round  now,  love. 
[Mrs.  Holroyd  turns  away.     She  sees  Holroyd^s  eyes 
on  the  brandy -hot  tie,  and  immediately  removes  it, 
corking  it  up. 
MRS.  HOLROYD  (to  Clara) 

You  will  not  need  this  any  more.'' 

CLARA 

No,  thanks.     I  'm  very  much  obliged. 
MRS.  HOLROYD  (docs  not  Unbend,  but  speaks  coldly  to 
the  children)    Come,  this  is  no  place  for  you  —  come 
back  to  bed. 

MINNIE 

No,  mam,  I  don't  want  to. 


24  MRS.    HOLROYD  [act  i 

MRS.    HOLROYD    (controlto) 

Come  along! 

MINNIE 

I  'm  frightened,  mam. 

MRS.    HOLROYD 

Frightened,  what  of.'* 

MINNIE 

Oo,  there  was  a  row. 

MRS.  HOLROYD  (taking  Minnie  in  her  arms) 

Did  they  frighten  you,  my  pet?    (She  kisses  her) 

JACK  (in  a  high  whisper) 

Mother,  it 's  pink  bonnet  and  blue  bonnet,  what  was 
dancing. 

MINNIE  (whimpering) 

I  don't  want  to  go  to  bed,  mam,  I  'm  frightened. 

CLARA   (who  has  pulled  off  her  pink  bonnet  and  re- 
vealed a  jug-handle  coiffure)       We  're  going  now, 
duckie  —  you  're  not  frightened  of  us,  are  you? 
[^Mrs.  Holroyd  takes  the  girl  away  before  she  can 
answer.    Jack  lingers  behind, 

HOLROYD 

Now  then,  get  off  after  your  mother. 
JACK  (taking  no  notice  of  his  father) 
I  say,  what 's  a  dog's-nose? 

[Clara  ups  with  her  handkerchief  and  Laura  re- 
sponds with  a  faint  giggle, 

HOLROYD 

Go  thy  ways  upstairs. 

CLARA 

It 's  only  a  small  whiskey  with  a  spoonful  of  beer  in 
it,  my  duck. 

JACK 

Oh! 


SCENE  ii]  MRS.    HOLROYD  25 

CLARA 

Come  here,  my  duck,  come  on, 
\_Jack,  curious,  advances, 

CLARA 

You  'U  tell  your  mother  we  did  n't  mean  no  harm, 
won't  you  ? 
JACK  (touching  her  earrings) 
What  are  they  made  of? 

CLARA 

They  're  only  earrings.     Don't  you  like  them  ? 

JACK 

Um!    (He  stands  surveying  her  curiously.     Then  he 
touches    a    bracelet    made    of    many    little    mosaic 
brooches)    This  is  pretty,  is  n't  it ? 
CLARA  (pleased) 
Do  you  like  it? 

\^She  takes  it  off.     Suddenly  Mrs.  Holroyd  is  heard 
calling,  "Jack,  Jack!''    Clara  starts. 

HOLROYD 

Now  then,  get  off ! 
CLARA  (as  Jack  is  reluctantly  going) 

Kiss  me  good-night,  duckie,  an'  give  this  to  your 

sister,  shall  you? 

\_She  hands  Jack  the  mosaic  bracelet.     He  takes  it 

doubtfully.     She  kisses  him.     Holroyd  watches  in 

silence. 
LAURA  (suddenly,  pathetically) 

Are  n't  you  going  to  give  me  a  kiss,  an'  all? 

[Jack  yields  her  his  cheek,  then  goes. 
CLARA  (to  Holroyd) 

Are  n't  they  nice  children  ? 

HOLROYD 

Ay. 


26  MRS.    HOLROYD  [act  i 

CLARA  {briskly) 

Oh,  dear,  you  're  very  short,  all  of  a  sudden.    Don't 
answer  if  it  hurts  you. 

LAURA 

My,  is  n't  he  different? 
HOLROYD  (laughing  forcedly) 
I  'm  no  different. 

CLARA 

Yes,  you  are.  You  should  n't  'ave  brought  us  if  you 
was  going  to  turn  funny  over  it. 

HOLROYD 

I  'm  not  funny. 

CLARA 

No,  you  're  not.  {She  begins  to  laugh,  Laura  joins 
in  in  spite  of  herself)  You  're  about  as  solemn  as  a 
roast  potato.  {She  flings  up  her  hands ,  claps  them 
down  on  her  knees,  and  sways  up  and  down  as  she 
laughs,  Laura  joining  in,  hand  on  breast)  Are  you 
ready  to  be  mashed  ?  ( She  goes  off  again  —  then 
suddenly  wipes  the  laughter  off  her  mouth  and  is 
solemn)  But  look  'ere,  this  '11  never  do.  Now  I  'm 
going  to  be  quiet.    {She  prims  herself) 

HOLROYD 

Tha  'd  'appen  better. 

CLARA 

Oh,  indeed !    You  think  I  've  got  to  pull  a  mug  to 

look  decent?     You  'd  have  to  pull  a  big  un,  at  that 

rate. 

\_She  bubbles  off,   uncontrollably  —  shaking  herself 

in  exasperation  meanwhile.   Laura  joins  in.   Holroyd 

leans  over  close  to  her. 

HOLROYD 

Tha  's  got  plenty  o'  fizz  in  thee,  seemly. 


SCENE  ii]  MRS.    HOLROYD  27 

CLARA  {putting  h^r  hand  on  his  face  and  'pushing  it 
aside,  hut  leaving  her  hand  over  his  cheek  and  mouth 
like  a  caress)  Don't,  you  've  been  drinking.  {She 
begins  to  laugh) 

HOLROYD 

Should  we  be  goin'  then? 

CLARA 

Where  do  you  want  to  take  us.? 

HOLROYD 

Oh  —  you  please  yourself  o'  that !   Come  on  wi'  me. 
CLARA  {sitting  up  prim) 

Oh,  indeed ! 
HOLROYD  {catching  hold  of  her) 

Come  on,  let 's  be  movin' —  {he  glances  apprehen- 

sively  at  the  stairs) 

CLARA 

What 's  your  hurry.? 
HOLROY^D  {persuasively) 
Yi,  come  on  wi'  thee. 

CLARA 

I  don't  think.    {She  goes  off,  uncontrollably) 
HOLROYD  {sitting  on  the  table,  just  above  her) 
What 's  use  o'  sittin'  'ere  ? 

CLARA 

I  'm  very  comfy :  I  thank  thee. 

HOLROYD 

Tha  'rt  a  baffling  little  'ussy. 
CLARA  {running  her  hand  along  his  thigh) 

Are  n't  you  havin'  nothing,  my  dear  ?     { Offers  him 

her  glass) 
HOLROYD  {getting  down  from  the  table  and  putting  his 

hand  forcibly  on  her  shoulder)     No.    Come  on,  let 's 

shift. 


28  MRS.    HOLROYD  [act  i 

CLARA  (struggling) 
Hands  off! 

[She  fetches  h'vm  a  sharp  slap  across  the  face,  Mrs, 
Holroyd  is  heard  coming  downstairs.  Clara,  released, 
sits  down,  smoothing  herself.  Holroyd  looks  evil. 
He  goes  out  to  the  door. 

CLARA  {to  Mrs.  Holroyd,  penitently) 

I  don't  know  what  you  think  of  us,  I  'm  sure. 

MRS.    HOLROYD 

I  think  nothing  at  all. 

CLARA  (bubbling) 

So  you  fix  your  thoughts  elsewhere,  do  you?  (Sud- 
denly changing  to  seriousness)  No,  but  I  have  been 
awful  to-night. 

MRS.  HOLROYD  (controlto,  emphatic) 

I  don't  want  to  know  anything  about  you.  I  shall 
be  glad  when  you  '11  go. 

CLARA 

Turning-out  time,  Laura. 
LAURA  (turtling) 

I  'm  sorry,  I  'm  sure. 

CLARA 

Never  mind.     But   as   true  as  I  'm  here,  missis,  I 
should  never  ha'  come  if  I  'd  thought.     But  I  had  a 
drop  —  it  all  started  with  your  husband  sayin'  he 
was  n't  a  married  man. 
LAURA  (laughing  and  wiping  her  eyes) 

I  've  never  knowed  her  to  go  off  like  it  —  it 's  after 
the  time  she  's  had. 

CLARA 

You  know,  my  husband  was  a  brute  to  me  —  an'  I 
was  in  bed  three  month  after  he  died.     He  was  a 


SCENE  ii]  MRS.    HOLROYD  29 

brute,  he  was.  This  is  the  first  time  I  've  been 
out ;   it 's  a'most  the  first  laugh  I  've  had  for  a  year. 

LAURA 

It 's  true,  what  she  says.  We  thought  she  'd  go  out 
of  'er  mind.    She  never  spoke  a  word  for  a  fortnight. 

CLARA 

Though  he  's  only  been  dead  for  two  months,  he  was 
a  brute  to  me.  I  was  as  nice  a  young  girl  as  you 
could  wish  when  I  married  him  and  went  to  the  Fleece 
Inn  —  I  was. 

LAURA 

Killed  hisself  drinking.  An'  she  's  that  excitable,  she 
is.  We  s'll  'ave  an  awful  time  with  'er  to-morrow,  I 
know. 

MRS.    HOLROYD    (coldly) 

1  don't  know  why  I  should  hear  all  this. 

CLARA 

I  know  I  must  'ave  seemed  awful.  An'  them  children 
—  are  n't  they  nice  little  things,  Laura.'* 

LAURA 

They  are  that. 
HOLROYD  (entering  from  the  door) 
Hanna  you  about  done  theer.? 

CLARA 

My  word,  if  this  is  the  way  you  treat  a  lady  when 
she  comes  to  see  you.     (She  rises) 

HOLROYD 

I  '11  see  you  down  th'  line. 

CLARA 

You  're  not  coming  a  stride  with  us. 

LAURA 

We  've  got  no  hat,  neither  of  us. 


30  MRS.    HOLROYD  [act  i 

CLARA 

We  Ve  got  our  own  hair  on  our  heads,  at  any  rate. 
{Drawing  herself  up  suddenly  in  front  of  Mrs,  Hol- 
royd)  An'  I  've  been  educated  at  a  boarding  school 
as  good  as  anybody.  I  can  behave  myself  either  in 
the  drawing-room  or  in  the  kitchen  as  is  fitting  and 
proper.  But  if  you  'd  buried  a  husband  like  mine, 
you  would  n't  feel  you  'd  much  left  to  be  proud  of  — 
an'  you  might  go  off  occasionally. 

MRS.   HOLROYD 

I  don't  want  to  hear  you. 

CLARA  (bobbing  a  curtsy) 
Sorry  I  spoke. 
\_She  goes  out  stiffly,  followed  by  Laura, 

HOLROYD  (going  forward) 

You  mun  mind  th'  points  down  th'  line. 

Clara's  voice 

I  thank  thee,  Charlie  —  mind  thy  own  points. 
[He  hesitates  at  the  door  —  returns  and  sits  down. 
There  is  silence  in  the  room.  Holroyd  sits  with  his 
chin  in  his  hand,  Mrs.  Holroyd  listens.  The  foot- 
steps and  voices  of  the  two  women  die  out.  Then  she 
closes  the  door,    Holroyd  begins  to  unlace  his  boots. 

HOLROYD  (ashamed  yet  defiant,  withal  anxious  to  apolo- 
gize)   Wheer 's  my  slippers? 

[Mrs.  Holroyd  sits  on  the  sofa  with  face  averted 
and  does  not  answer, 

HOLROYD 

Dost  hear?  (He  pulls  off  his  boots,  noisily,  and 
begins  to  hunt  under  the  sofa)  I  canna  find  the 
things.  (No  answer)  Humph !  —  then  I  '11  do  be  'out 
'em.  (He  stumps  about  in  his  stocking  feet;  going 
into  the  scullery,  he  brings  out  the  loaf  of  bread;  he 


SCENE  ii]  MRS.    HOLROYD  31 

returns  into  the  scullery)  Wheer  's  th'  cheese?  {No 
answer  —  suddenly)  God  blast  it!  {He  hobbles 
into  the  kitchen)  I  've  trod  on  that  brokken  basin, 
an'  cut  my  foot  open.  {Mrs.  Holroyd  refuses  to  take 
any  notice.  He  sits  down  and  looks  at  his  sole  — 
pulls  off  his  stocking  and  looks  again)  It 's  lamed 
me  for  life.  {Mrs.  Holroyd  glances  at  the  wou/nd) 
Are  'na  ter  go  in'  ter  get  me  owt  for  it.^^ 

MRS.    HOLROYD 

Psh! 

HOLROYD 

Oh,  a'  right  then.  {He  hops  to  the  dresser ^  opens  a 
drawer,  and  pulls  out  a  white  rag;  he  is  about  to 
tear  it) 

MRS.  HOLROYD  {snatcMug  it  from  him) 
Don't  tear  that! 

HOLROYD  {shouting) 

Then  what  the  deuce  am  I  to  do?  {Mrs.  Holroyd 
sits  stonily)  Oh,  a'  right  then!  {He  hops  back  to 
his  chair,  sits  down,  and  begins  to  pull  on  his  stock- 
ing) A'  right  then —  a'  right  then.  {In  a  fever 
of  rage  he  begins  pulling  on  his  boots)  I  '11  go 
where  I  can  find  a  bit  o'  rag. 

MRS.  HOLROYD 

Yes,  that 's  what  you  want !    All  you  want  is  an  ex- 
cuse to  be  oif  again  —  "a  bit  of  rag  " ! 
HOLROYD  {shouting) 

An'  what  man  'd  want  to  stop  in  wi'  a  woman  sittin' 
as  fow  as  a  jackass,  an'  canna  get  a  word  from  'er 
edgeways. 

MRS.    HOLROYD 

Don't  expect  me  to  speak  to  you  after  to-night's 


32  MRS.    HOLROYD  [act  i 

show.  How  dare  you  bring  them  to  my  house,  how 
dare  you.'* 

HOLROYD 

They  Ve  non  hurt  your  house,  have  they? 

MRS.    HOLROYD 

I  wonder  you  dare  to  cross  the  doorstep. 

HOLROYD 

I  s'll  do  what  the  deuce  I  like.     They  're  as  good  as 

you  are. 
MRS.  HOLROYD    (stauds  speecJiless,  starmg  at  him;  then 

low)     Don't  you  come  near  me  again  — 
HOLROYD  {suddenly  shouting,  to  get  his  courage  up) 

She  's  as  good  as  you  are,  every  bit  of  it. 
MRS.  HOLROYD  (blazing) 

Whatever  I  was  and  whatever  I  may  be,  don't  you 

ever  come  near  me  again. 

HOLROYD 

What !  I  '11  show  thee.  What 's  the  hurt  to  you  if 
a  woman  comes  to  the  house?  They  're  women  as 
good  as  yourself,  every  whit  of  it. 

MRS.    HOLROYD 

Say  no  more.  Go  with  them  then,  and  don't  come 
back. 

HOLROYD 

What !  Yi,  I  will  go,  an'  you  s'll  see.  What !  You 
think  you  're  something,  since  your  uncle  left  you 
that  money,  an'  Blackymore  puttin'  you  up  to  it. 
I  can  see  your  little  game.  I  'm  not  as  daft  as  you 
imagine.     I  'm  no  fool,  I  tell  you. 

MRS.    HOLROYD 

No,  you  're  not.  You  're  a  drunken  beast,  that 's  all 
you  are. 


SCENE  ii]  MRS.    HOLROYD  33 

HOLROYD 

What,   what  —  I  'm   what  ?      I  '11    show   you    who  's 
gaffer,  though.    {He  threatens  her) 
MRS.  HOLROYD  (between  her  teeth) 

No,  it 's  not  going  on.     If  you  won't  go,  I  will. 

HOLROYD 

Go  then,  for  you  've  always  been  too  big  for  your 
shoes,  in  my  house  — 

MRS.    HOLROYD 

Yes  —  I  ought  never  to  have  looked  at  you.  Only 
you  showed  a  fair  face  then. 

HOLROYD 

What !  What !  We  '11  see  who  's  master  i'  this  house. 
I  tell  you,  I  'm  goin'  to  put  a  stop  to  it.  (He  brings 
his  fist  down  on  the  table  with  a  bang)  It 's  going  to 
stop.  (He  bangs  the  table  again)  I  've  put  up  with 
it  long  enough.  Do  you  think  I  'm  a  dog  in  the 
house,  an'  not  a  man,  do  you  — 

MRS.    HOLROYD 

A  dog  would  be  better. 

HOLROYD 

Oh !  Oh !  Then  we  '11  see.  We  '11  see  who  's  the 
dog  and  who  isna.  We  're  goin'  to  see.  (He  bangs 
the  table) 

MRS.    HOLROYD 

Stop  thumping  that  table !  You  've  wakened  those 
children  once,  you  and  your  trollops. 

HOLROYD 

I  shall  do  what  the  deuce  I  like ! 

MRS.    HOLROYD 

No  more,  you  won't,  no  more.  I  've  stood  this  long 
enough.     Now  I  'm  going.      As   for  you  —  you  've 


34.  MRS.    HOLROYD  [act  i 

got  a  red  face  where  she  slapped  you.     Now  go  to 
her. 

HOLROYD 

What?     What? 

MRS.    HOLROYD 

For  I  'm  sick  of  the  sights  and  sounds  of  you. 
HOLROYD  (bitterly) 

By  God,  an'  I  've  known  it  a  long  time, 

MRS.    HOLROYD 

You  have,  and  it 's  true. 

HOLROYD 

An'  I  know  who  it  is  th  'rt  hankerin'  after. 

MRS.    HOLROYD 

I  only  want  to  be  rid  of  you. 

HOLROYD 

I  know  it  mighty  well.     But  7  know  him! 
\_Mrs,  Holroyd,  sinking  down  on  the  sofa,  suddenly 
begins   to   sob   half -hysterically.     Holroyd  watches 
her.     As  suddenly,  she  dries  her  eyes, 

MRS.    HOLROYD 

Do  you  think  I  care  about  what  you  say?  (Suddenly) 
Oh,  I  've  had  enough.  I  've  tried,  I  've  tried  for 
years,  for  the  children's  sakes.  Now  I  've  had 
enough  of  your  shame  and  disgrace. 

HOLROYD 

Oh,  indeed! 
MRS.  HOLROYD  (her  voice  is  dull  and  inflexible) 

I  've  had  enough.  Go  out  again  after  those  trollops 
—  leave  me  alone.  I've  had  enough.  (Holroyd 
stands  looking  at  her)  Go,  I  mean  it,  go  out  again. 
And  if  you  never  come  back  again,  I  'm  glad.  I  've 
had  enough.     (She  keeps  her  face  averted,  will  not 


SCENE  ii]  MRS.    HOLROYD  35 

look  at  him,  her  attitude  expressing  thorough 
weariness  ) 

HOLROYD 

All  right  then ! 

\^He  hobbles,  in  wnlaced  boots,  to  the  door.  Then 
he  turns  to  look  at  her.  She  turns  herself  still  far- 
ther away,  so  that  her  back  is  toward  him.    He  goes, 

CURTAIN 


THE    SECOND    ACT 

The  scene  is  the  same^  two  hours  later.  The  cottage  is 
in  darkness,  save  for  the  firelight.  On  the  table  is  spread 
a  newspaper.  A  cup  and  saucer,  a  plate,  a  piece  of 
bacon  in  the  frying  tin  are  on  the  newspaper  ready 
for  the  miner's  breakfast.  Mrs.  Holroyd  has  gone  to 
bed.  There  is  a  noise  of  heavy  stumbling  down  the 
three  steps  outside, 

blackmore's  voice 

Steady,  now,  steady.     It 's  all  in  darkness.     Missis ! 

—  Has  she  gone  to  bed? 

[He  tries  the  latch  —  shakes  the  door, 
holroyd's  voice  {he  is  drunk) 

Her  's  locked  me  out.    Let  me  smash  that  bloody  door 

in.     Come  out  —  come  out  —  ussza !    {He  strikes  a 

heavy  blow  on  the  door.     There  is  a  scuffle) 
blackmore's  voice 

Hold  on  a  bit  —  what 're  you  doing? 
holroyd's  voice 

I  'm  smashing  that  blasted  door  in. 
MRS.  HOLROYD   (appearing  and  suddenly  drawing  the 

bolts,  flinging  the  door  open)    What  do  you  think 

you  're  doing? 
HOLROYD  (lurching  into  the  room,  snarling) 

What?       What?      Tha    thought    tha 'd    play    thy 

monkey  tricks  on  me,  did   ter?      (Shouting)     But 


ACT  ii]  MRS.    HOLROYD  37 

I  'm    going    to    show    thee.       {^He    lurches    at    her 

threateningly ;    she  recoils) 
BLACKMORE  {scizing  him  by  the  arm) 

Here,  here,  — !    Come  and  sit  down  and  be  quiet. 
HOLROYD  (snarling  at  him) 

What?  —  What?     An'  what's  thaigh  got  ter  do  wi' 

it?    (Shouting)    What's  thaigh  got  ter  do  wi'  it? 

BLACKMORE 

Nothing  —  nothing ;  but  it 's  getting  late,  and  you 
want  your  supper. 
HOLROYD  (shouting) 

I  want  nowt.  I'm  allowed  nowt  in  this  'ouse.   (Shout- 
ing louder)    'Er  begrudges  me  ivry  morsel  I  ha'e. 

MRS.    HOLROYD 

Oh,  what  a  story! 
HOLROYD  (shouting) 

It 's  the  truth,  an'  you  know  it. 
BLACKMORE  (conciliatory) 

You  '11  rouse  the  children.     You  'II  rouse  the  chil- 
dren, at  this  hour. 
HOLROYD  (suddenly  quiet) 

Not  me  —  not  if  I  know  it.     I  shan't  disturb  'em  — 

bless  'em. 

[^He  staggers  to  his  armchair  and  sits  heavily, 

BLACKMORE 

ShaU  I  light  the  lamp? 

MRS.   HOLROYD 

No,  don't  trouble.     Don't  stay  any  longer,  there  's 
no  need. 
BLACKMORE  (quictly) 

I  '11  just  see  it 's  all  right. 

[He  proceeds  in  silence  to  light  the  lamp.    Holroyd 

is  seen  dropping  forward  in  his  chair.    He  has  a  cut 

441173 


38  MRS.    HOLROYD  [act  ii 

on  his  cheek.  Mrs.  Holroyd  is  in  an  old-fashioned 
dressing-gown.  Blackmore  has  an  overcoat  hut- 
toned  up  to  his  chin.  There  is  a  very  large  lump  of 
coal  on  the  red  fire. 

MRS.    HOLROYD 

Don't  stay  any  longer. 

BLACKMORE 

I  'U  see  it  's  all  right. 

MRS.    HOLROYD 

I  shall  be  all  right.       He  '11  go  to  sleep  now. 

BLACKMORE 

But  he  can't  go  like  that. 

MRS.    HOLROYD 

What  has  he  done  to  his  face.'^ 

BLACKMORE 

He  had  a  row  with  Jim  Goodwin. 

MRS.    HOLROYD 

What  about.? 

BLACKMORE 

I  don't  know. 

MRS.    HOLROYD 

The  beast ! 

BLACKMORE 

By  Jove,  and  is  n't  he  a  weight !  He  's  getting  fat, 
must  be  — 

MRS.    HOLROYD 

He  's  big  made  —  he  has  a  big  frame. 

BLACKMORE 

Whatever  he  is,  it  took  me  all  my  time  to  get  him 
home.  I  thought  I  'd  better  keep  an  eye  on  him.  I 
knew  you  'd  be  worrying.     So  I  sat  in  the  smoke- 


ACT  ii]  MRS.    HOLROYD  39 

room  and  waited  for  him.  Though  it  's  a  dirty  hole 
—  and  dull  as  hell. 

MRS.    HOLROYD 

Why  did  you  bother.? 

BLACKMORE 

Well,  I  thought  you  'd  be  upset  about  him.  I  had 
to  drink  three  whiskies  —  had  to,  in  all  conscience  — 
(smiling) 

MRS.    HOLROYD 

I  don't  want  to  be  the  ruin  of  you. 

BLACKMORE  (sTTiiling) 

Don't  you  ?  I  thought  he  'd  pitch  forward  onto  the 
lines  and  crack  his  skull. 

[Holroyd  has  been  sinking  farther  and  farther  for- 
ward in  drunken  sleep.  He  suddenly  jerks  too  far 
and  is  awakened.  He  sits  upright,  glaring  fiercely 
and  dazedly  at  the  two,  who  instantly  cease  talking. 

HOLROYD  {to  Blackmore) 

What  are  thaigh  doin'  'ere.^^ 

BLACKMORE 

Why,  I  came  along  with  you. 

HOLROYD 

Thou  'rt  a  liar,  I  'm  only  just  come  in. 

MRS.    HOLROYD   (coldly) 

He  is  no  liar  at  all.     He  brought  you  home  because 

you  were  too  drunk  to  come  yourself. 
HOLROYD  (starting  up) 

Thou  'rt  a  liar !     I  niver  set  eyes  on  him  this  night, 

afore  now. 
MRS.  HOLROYD  (with  a  "  Pf  "  of  contevipt) 

You  don't  know  what  you  have  done  to-night. 
HOLROYD  (shouting) 

I  s'll  not  have  it,  I  tell  thee. 


40  MRS.    HOLROYD  [act  ii 

MRS.    HOLROYD 

Psh! 

HOLROYD 

I  s'U  not  ha'e  it.     I  s'll  ha'e  no  carryin's  on  i'  my 

'ouse  — 
MRS.  HOLROYD  (shrugging  her  shoulders) 

Talk  when  you  've  got  some  sense. 
HOLROYD  (fiercely) 

I  've  as  much  sense  as  thaigh.     Am  I  a  fool.^*     Canna 

I  see?  What's  he  doin'  here  then,  answer  me  that. 

What  —? 

MRS.    HOLROYD 

Mr.  Blackmore  came  to  bring  you  home,  because  3^ou 
were  too  drunk  to  find  your  own  way.     And  this  is 
the  thanks  he  gets. 
HOLROYD  (contemptuously) 

Blackymore,  Blackymore.  It  's  him  tha  cuts  thy 
cloth  by,  is  it? 

MRS.    HOLROYD    (hotly) 

You  don't  know  what  you  're  talking  about,  so  keep 
your  tongue  still. 
HOLROYD  (bitingly) 

I  don't  know  what  I  'm  talking  about  —  I  don't  know 
what  I  'm  talking  about  —  don't  I?  An'  what  about 
him  standing  there  then,  if  I  don't  know  what  I  'm 
talking  about?  —  What? 

BLACKMORE 

You  've  been  to  sleep,  Charlie,  an'  forgotten  I 
came  in  with  you,  not  long  since. 

HOLROYD 

I  'm  not  daft,  I  'm  not  a  fool.  I  've  got  eyes  in  my 
head,  and  sense.  You  needn't  try  to  get  over  me. 
I  know  what  you  're  up  to. 


ACT  ii]  MRS.    HOLROYD  41 

BLACKMORE  (flusMng) 

It 's  a  bit  off  to  talk  to  me  like  that,  Charlie,  I  must 
say. 

HOLROYD 

I  'm  not  good  enough  for  'er.  She  wants  Mr.  Blacky- 
more.  He  's  a  gentleman,  he  is.  Now  we  have  it  all; 
now  we  understand. 

MRS.    HOLROYD 

I  wish  you  understood  enough  to  keep  your  tongue 
still. 

HOLROYD 

What?     What?     I  'm  to  keep  my  tongue  still,  am 
I?     An'  what  about  Mr.  Blachymore? 
MRS.  HOLROYD  {fiercely) 

Stop  your  mouth,  you  —  you  vulgar,  low-minded 
brute. 

HOLROYD 

Am  I  ?  Am  I  ?  An'  what  are  you  ?  What  tricks  are 
you  up  to,  an'  all?  But  that's  all  right  —  that's 
all  right.     {Shouting)  That 's  all  right,  if  it 's  you. 

BLACKMORE 

I  think  I  'd  better  go.     You  seem  to  enjoy  —  er  — 
er  —  calumniating  your  wife. 
HOLROYD  {mockingly) 

Calamniating  —  calamniating  —  I  '11  give  you  calam- 
niating,  you  mealy-mouthed  jockey:  I'll  give  you 
calamniating. 

BLACKMORE 

I  think  you  've  said  about  enough. 

HOLROYD 

'Ave  I,  'ave  I?  Yer  flimsy  jack  —  'ave  I?  {In  a 
sudden  hurst)     But  I  've  not  done  wi'  thee  yet. 


42  MRS.    HOLROYD  [act  ii 

BLACKMORE  {wonically) 

No,  and  you  have  n't. 
HOLROYD    ( shouting  —  pulling    himself    up    from    the 

armchair)     I  '11  show  thee  —  I  '11  show  thee. 

[Blackmore  laughs. 

HOLROYD 

Yes!  —  yes,  my  young  monkey.     It's  thaigh,  is  it? 

BLACKMORE 

Yes,  it 's  me, 
HOLROYD  (shouting) 

An'  I  '11  ma'e  thee  wish  it  wor  n't,  I  will.  What — ? 
What  —  ?  Tha  'd  come  slivin'  round  here,  would  ta? 
(He  lurches  forward  at  Blackmore  with  clenched 
fist) 

MRS.    HOLROYD 

Drunken,  drunken  fool  —  oh,  don't. 

HOLROYD  (turning  to  her) 
What? 

\^She  puts  up  her  hands  before  her  face.  Blackmore 
seizes  the  upraised  arm  and  swings  Holroyd  round, 

BLACKMORE  (in  a  towering  passion) 
Mind  what  tha  'rt  doing ! 

HOLROYD  ( turning  fiercely  on  him  —  incoherent) 
Wha'  —  wha'  —  ! 

[He  aims  a  heavy  blow.  Blackmore  evades  it,  so  that 
he  is  struck  on  the  side  of  the  chest.  Suddenly  he 
shows  his  teeth.  He  raises  his  fists  ready  to  strike 
Holroyd  when  the  latter  stands  to  advantage. 

MRS.  HOLROYD  (rusMng  upon  Blackmore) 
No,  no !    Oh,  no ! 

[She  flies  and  opens  the  door,  and  goes  out.  Black- 
more  glances  after  her,  then  at  Holroyd,  who  is  pre- 


ACT  ii]  MRS.    HOLROYD  43 

paring,  like  a  hull,  for  another  charge.  The  young 
man's  face  lights  up, 

HOLROYD 

Wha'  — wha'— ! 

[As  he  advances,  Blachmore  quickly  retreats  out-of- 
doors.  Holroyd  plunges  upon  him.  Blackmore  slips 
behind  the  door-jamb,  puts  out  his  foot,  and  trips 
Holroyd  with  a  crash  upon  the  brick  yard. 

MRS.    HOLROYD 

Oh,  what  has  he  done  to  himself? 
BLACKMORE  (thickly) 
Tumbled  over  himself. 

[Holroyd  is  seen  struggling  to  rise,  and  is  heard 
incoherently  cursing. 

MRS.    HOLROYD 

Are  n't  you  going  to  get  him  up? 

BLACKMORE 

What  for? 

MRS.    HOLROYD 

But  what  shall  we  do? 

BLACKMORE 

Let  him  go  to  hell. 

[Holroyd,  who  had  subsided,  begins  to  snarl  and 
struggle  again. 
MRS.  HOLROYD  (m  terror) 
He  's  getting  up. 

BLACKMORE 

All  right,  let  him. 

[Mrs.  Holroyd  looks  at  Blackmore,  suddenly  afraid 
of  him  also. 
HOLROYD  (in  a  last  frenzy) 
I  '11  show  thee  —  I  '11  — 
[He  raises  himself  up,  and  is  just  picking  his  balance 


44  MRS.    HOLROYD  [act  n 

•when  Blackmore,  with  a  sudden  light  kick,  sends  him 
sprawling  again.  He  is  seen  on  the  edge  of  the  light 
to  collapse  mto  stupor. 

MRS.    HOLROYD 

He  '11  kill  you,  he  '11  kill  you! 
[Blackmore  laughs  short, 

MRS.    HOLROYD 

Would  you  believe  it!  Oh,  isn't  it  awful!  (She  be- 
gins to  weep  in  a  little  hysteria;  Blackmore  stands 
with  his  hack  leaning  on  the  doorway,  grinning  in  a 
strained  fashion)    Is  he  hurt,  do  you  think.? 

BLACKMORE 

I  don't  know  —  I  should  think  not. 

MRS.    HOLROYD 

I  wish  he  was  dead ;  I  do,  with  all  my  heart. 

BLACKMORE 

Do  you?     {He  looks  at  her  quickly;  she  wavers  and 
shrinks;  he  begins  to  smile  strainedly  as  before)  You 
don't  know  what  you  wish,  or  what  you  want. 
MRS.  HOLROYD  (troubled) 

Do  you  think  I  could  get  past  him  to  come  inside.'* 

BLACKMORE 

I  should  think  so. 

[Mrs.  Holroyd,  silent  and  troubled,  manoeuvres  in 
the  doorway,  stepping  over  her  husband's  feet,  which 
lie  on  the  threshold. 

BLACKMORE 

Why,  you  've  got  no  shoes  and  stockings  on ! 

MRS.    HOLROYD 

No.     (She  enters  the  house  and  stands  trembling  be- 
fore the  fire) 
BLACKMORE  (following  her) 
Are  you  cold? 


ACT  ii]  MRS.    HOLROYD  45 

MRS.  HOLROYD 

A  little  —  with  standing  on  the  yard. 

BLACKMORE 

What  a  shame! 

[She,  uncertain  of  herself y  sits  down.     He  drops  on 

one  knee,  awkwardly,  and  takes  her  feet  in  his  hands. 

MRS.  HOLROYD 

Don't  —  no,  don't ! 

BLACKMORE 

They  are  frightfully  cold.     {He  remains,  with  head 

sunk,  for  some  moments,  then  slowly  rises)     Damn 

him! 

IThey  look  at  each  other;  then,  at  the  same  time, 

turn  away, 

MRS.  HOLROYD 

We  can't  leave  him  lying  there. 

BLACKMORE 

No  —  no  !    I  '11  bring  him  in. 

MRS.    HOLROYD 

But  —  ! 

BLACKMORE 

He  won't  wake  again.  The  drink  will  have  got  hold 
of  him  by  now.  (He  hesitates)  Could  you  take  hold 
of  his  feet  —  he  's  so  heavy. 

MRS.  HOLROYD 

Yes. 

[They  go  out  and  are  seen  stooping  over  Holroyd. 

BLACKMORE 

Wait,  wait,  till  I  've  got  him  —  half  a  minute. 
[Mrs.  Holroyd  backs  in  first.     They  carry  Holroyd 
in  and  lay  him  on  the  sofa, 

MRS.  HOLROYD 

Does  n't  he  look  awful  .f* 


46  MRS.    HOLROYD  [act  ii 

BLACKMORE 

It 's  more  mark  than  mar.     It  is  n't  much,  really. 
[He  is  husy  taking  off  Holroyd's  collar  and  tie,  un- 
fastening the  waistcoat,  the  braces  and  the  waist  hut- 
tons  of  the  trousers;  he  then  proceeds  to  unlace  the 
drunken  man's  boots. 
MRS.  HOLROYD  (who  lias  becu  watchiug  closely) 
1  shall  never  get  him  upstairs. 

BLACKMORE 

He  can  sleep  here,  with  a  rug  or  something  to  cover 
him.     You  don't  want  him  —  upstairs  ? 

MRS.    HOLROYD 

Never  again. 
BLACKMORE  {after  a  moment  or  two  of  silence) 

He  '11  be  all  right  down  here.    Have  you  got  a  rug.? 

MRS.    HOLROYD 

Yes. 

[She  goes  upstairs,  Blackmore  goes  into  the  scul- 
lery, returning  with  a  lading  can  and  towel.  He  gets 
hot  water  from  the  boiler.  Then,  kneeling  down,  he 
begins  to  wipe  the  drunken  man*s  face  lightly  with 
the  flannel,  to  remove  the  blood  and  dirt, 
MRS.  HOLROYD  {returning) 
What  are  you  doing.? 

BLACKMORE 

Only  wiping  his  face  to  get  the  dirt  out. 

MRS.    HOLROYD 

I  wonder  if  he  'd  do  as  much  for  you. 

BLACKMORE 

I  hope  not, 

MRS.    HOLROYD 

Is  n't  he  horrible,  horrible  — 


ACT  ii]  MRS.    HOLROYD  47 

Bi^ACKMORE  (looks  up  at  her) 
Don't  look  at  him  then. 

MRS.    HOLROYD 

I  can't  take  it  in,  it 's  too  much. 

BLACKMORE 

He  won't  wake.    I  will  stay  with  you. 
MRS.  HOLROYD  {earnestly) 
No  —  oh,  no. 

BLACKMORE 

There  will  be  the   drawn   sword  between  us.      {He 
indicates  the  figure  of  Holroyd,  which  lies,  in  effect, 
as  a  harrier  between  them) 
MRS.  HOLROYD  {hlusMng) 
Don't! 

BLACKMORE 

I  'm  sorry. 
MRS.  HOLROYD  {after  watching  him  for  a  few  moments 

lightly  wiping  the  sleeping  man's  face  with  a  towel) 

I  wonder  you  can  be  so  careful  over  him. 
BLACKMORE  {quictly) 

It 's  only  because  he  's  helpless. 

MRS.    HOLROYD 

But  why  should  you  love  him  ever  so  little? 

BLACKMORE 

I   don't  —  only   he  's  helpless.     Five  minutes   since 
I  could  have  killed  him. 

MRS.  HOLROYD 

Well,  I  don't  understand  you  men. 

BLACKMORE 

Why.? 

MRS.    HOLROYD 

I  don't  know. 


48  MRS.    HOLROYD  [act  ii 

BLACKMORE 

I  thought  as  I  stood  in  that  doorway,  and  he  was 
trying  to  get  up  —  I  wished  as  hard  as  I  've  ever 
wished  anything  in  my  life  — 

MRS.    HOLROYD 

What? 

BLACKMORE 

That  I  'd  killed  him.  I  've  never  wished  anything 
so  much  in  my  life  —  if  wishes  were  anything. 

MRS.    HOLROYD 

Don't,  it  does  sound  awful. 

BLACKMORE 

I  could  have  done  it,  too.     He  ought  to  be  dead. 
MRS.  HOLROYD  {pleading) 

No,  don't!  You  know  you  don't  mean  it,  and  you 
make  me  feel  so  awful. 

BLACKMORE 

I  do  mean  it.     It  is  simply  true,  what  I  say. 

MRS.    HOLROYD 

But  don't  say  it. 

BLACKMORE 

No.? 

MRS,    HOLROYD 

No,  we  've  had  enough. 

BLACKMORE 

Give  me  the  rug. 

[^She  hands  it  him,  and  he  tucks  Holroyd  up, 

MRS.    HOLROYD 

You  only  do  it  to  play  on  my  feelings. 
BLACKMORE  {laugliing  shortly) 

And  now  give  me  a  pillow  —  thanks. 

[There  is  a  pause  —  both  look  at  the  sleeping  man. 


ACT  ii]  MRS.    HOLROYD  49 

BLACKMORE 

I  suppose  you  're  fond  of  him,  really. 

MRS.    HOLROYD 

No  more. 

BLACKMORE 

You  were  fond  of  him.'^ 

MRS.    HOLROYD 

I  was  —  yes. 

BLACKMORE 

What  did  you  like  in  him.'' 
MRS.  HOLROYD  {uneasily) 
I  don't  know. 

BLACKMORE 

I  suppose  you  really  care  about  him,  even  now. 

MRS.    HOLROYD 

Why  are  you  so  sure  of  it.'' 

BLACKMORE 

Because  I  think  it  is  so. 

MRS.    HOLROYD 

I  did  care  for  him  —  now  he  has  destroyed  it  — 

BLACKMORE 

I  don't  believe  he  can  destroy  it. 
MRS.  HOLROYD  {w'ltli  a  slwrt  laugli) 

Don't  you?  When  you  are  married  you  try.  You  '11 
find  it  is  n't  so  hard. 

BLACKMORE 

But  what  did  you  like  in  him  —  because  he  was  good- 
looking,  and  strong,  and  that.'' 

MRS.    HOLROYD 

I  liked  that  as  well.  But  if  a  man  makes  a  nuisance 
of  himself,  his  good  looks  are  ugly  to  you,  and  his 
strength  loathsome.     Do  you  think  I  care  about  a 


50  MRS.    HOLROYD  [act  ii 

man  because  he  's  got  big  fists,  when  he  is  a  coward 
in  his  real  self? 

BLACKMORE 

Is  he  a  coward? 

MRS.    HOLROYD 

He  is  —  a  pettifogging,  paltry  one. 

BLACKMORE 

And  so  you  've  really  done  with  him? 

MRS.    HOLROYD 

I  have. 

BLACKMORE 

And  what  are  you  going  to  do? 

MRS.    HOLROYD 

I  don't  know. 

BLACKMORE 

I  suppose   nothing.      You'll  just   go   on  —  even  if 
you  've  done  with  him  —  you  '11  go  on  with  him. 
[There  is  a  long  pause, 

BLACKMORE 

But  was  there  nothing  else  in  him  but  his  muscles 
and  his  good  looks  to  attract  you  to  him? 

MRS.    HOLROYD 

Why?    What  does  it  matter? 

BLACKMORE 

What  did  you  think  he  was? 

MRS.    HOLROYD 

Why  must  we  talk  about  him? 

BLACKMORE 

Because  I  can  never  quite  believe  you. 

MRS.    HOLROYD 

I  can't  help  whether  you  believe  it  or  not. 

BLACKMORE 

Are  you  just  in  a  rage  with  him,  because  of  to-night? 


ACT  ii]  MRS.    HOLROYD  51 

MRS.    HOLROYD 

I  know,  to-night  finished  it.  But  it  was  never  right 
between  us. 

BLACKMORE 

Never  ?  / 

MRS.    HOLROYD 

Not  once.  And  then  to-night  —  no,  it 's  too  much ; 
I  can't  stand  any  more  of  it, 

BLACKMORE 

I  suppose  he  got  tipsy.  Then  he  said  he  was  n't  a 
married  man  —  vowed  he  was  n't,  to  those  paper 
bonnets.  They  found  out  he  was,  and  said  he  was 
frightened  of  his  wife  getting  to  know.  Then  he  said 
they  should  all  go  to  supper  at  his  house  —  I  sup- 
pose they  came  out  of  mischief. 

MRS.    HOLROYD 

He  did  it  to  insult  me. 

BLACKMORE 

Oh,  he  was  a  bit  tight  —  you  can't  say  it  was  de- 
liberate. 

MRS.    HOLROYD 

No,  but  it  shows  how  he  feels  toward  me.  The 
feeling  comes  out  in  drink. 

BLACKMORE 

How  does  he  feel  toward  you  .J* 

MRS.    HOLROYD 

He  wants  to  insult  me,  and  humiliate  me,  in  everj' 
moment  of  his  life.     Now  I  simply  despise  him. 

BLACKMORE 

You  really  don't  care  any  more  about  him.'* 

MRS.    HOLROYD 

No. 


52  MRS.    HOLROYD  [act  ii 

BLACKMORE  (hesitates) 

And  you  would  leave  him? 

MRS.    HOLROYD 

I  would  leave  him,  and  not  care  that  about  him  any 
more.     {She  snaps  her  fingers) 

BLACKMORE 

Will  you  come  with  me.'' 
MRS.  HOLROYD  (^after  a  reluctant  pause) 

Where  ? 

BLACKMORE 

To  Spain:     I  can  any  time  have  a  job  there,  in  a 
decent  part.    You  could  take  the  children. 
[The   figure   of    the   sleeper   stirs   uneasily — they 
watch  him, 

BLACKMORE 

Will  you.? 

MRS.    HOLROYD 

When  would  you  go? 

BLACKMORE 

To-morrow,  if  you  like. 

MRS.    HOLROYD 

But  why  do  you  want  to  saddle  yourself  with  me  and 
the  children.? 

BLACKMORE 

Because  I  want  to. 

MRS.    HOLROYD 

But  you  don't  love  me? 

BLACKMORE 

Why  don't  I.? 

MRS.    HOLROYD 

You  don't. 

BLACKMORE 

I  don't  know  about  that.     I  don't  know  anything 


ACT  ii]  MRS.    HOLROYD  53 

about  love.  Only  I  've  gone  on  for  a  year  now,  and 
it 's  got  stronger  and  stronger  — 

MRS.    HOLROYD 

What  has.? 

BLACKMORE 

This  —  this  wanting  you,  to  live  with  me.  I  took 
no  notice  of  it  for  a  long  time.  Now  I  can't  get 
awa}^  from  it,  at  no  hour  and  nohow.  (^He  still 
avoids  direct  contact  with  her) 

MRS.    HOLROYD 

But  you  'd  like  to  get  away  from  it. 

BLACKMORE 

I  hate  a  mess  of  any  sort.  But  if  you  '11  come  away 
with  me  —  you  and  the  children  — 

MRS.    HOLROYD 

But  I  could  n't  —  you  don't  love  me  — 

BLACKMORE 

I  don't  know  what  you  mean  by  I  don't  love  you. 

MRS.    HOLROYD 

I  can  feel  it. 

BLACKMORE 

And  do  you  love  me?    (A  pause) 

MRS.    HOLROYD 

I  don't  know.    Everything  is  so  —  so  — 
[There  is  a  long  pause. 

BLACKMORE 

How  old  are  you.'^ 

MRS.  HOLROYD 

Thirty-two. 

BLACKMORE 

I  'm  twenty-seven. 

MRS.    HOLROYD 

And  have  you  never  been  in  love? 


54  MRS.    HOLROYD  [act  ii 

BLACKMORE 

I  don't  think  so.     I  don't  know. 

MRS.    HOLROYD 

But  you  must  know.  I  must  go  and  shut  that  door 
that  keeps  clicking. 

[She  rises  to  go  upstairs,  making  a  clatter  at  the 
stairfoot  door.  The  noise  rouses  her  husband.  As 
she  goes  upstairs,  he  moves,  makes  coughing  sounds, 
turns  over,  and  then  suddenly  sits  upright,  gazing  at 
Blackmore.  The  latter  sits  perfectly  still  on  the 
sofa,  his  head  dropped,  hiding  his  face.  His  hands 
are  clasped.    They  remain  thus  for  a  minute. 

HOLROYD 

Hello!  (He  stares  fixedly)  Hello!  (His  tone  is 
undecided,  as  if  he  mistrusts  himself)  What  are  — 
who  are  ter?  (Blackmore  does  not  move;  Holroyd 
stares  blankly;  he  then  turns  and  looks  at  the  room) 
Well,  I  dunna  know. 

[He  staggers  to  his  feet,  clinging  to  the  table,  and 
goes  groping  to  the  stairs.  They  creak  loudly 
under  his  weight.  A  doorlatch  is  heard  to  click. 
In  a  moment  Mrs.  Holroyd  comes  quickly  down- 
stairs. 

BLACKMORE 

Has  he  gone  to  bed? 
MRS.  HOLROYD  (nodding) 
Lying  on  the  bed. 

BLACKMORE 

Will  he  settle  now? 

MRS.    HOLROYD 

I  don't  know.  He  is  like  that  sometimes.  He  will 
have  delirium  tremens  if  he  goes  on. 


ACT  ii]  MRS.    HOLROYD  55 

BLACKMORE    {softly) 

You  can't  stay  with  him,  you  know. 

MRS.    HOLROYD 

And  the  children.'* 

BLACKMORE 

We  '11  take  them. 

MRS.    HOLROYD 

Oh! 

[Her  face  puckers  to  cry.     Suddenly  he  starts  up 
and  puts  his  arms  round  her,  holding  her  protec- 
tively and  gently,  very  caressingly.     She  clings  to 
him.     They  are  silent  for  some  moments. 
BLACKMORE  {struggling,  in  an  altered  voice) 
Look  at  me  and  kiss  me. 

[Her  sobs  are  heard  distinctly.  Blackmore  lays  his 
hand  on  her  cheek,  caressing  her  always  with  his 
hand. 

BLACKMORE 

My  God,  but  I  hate  him !  I  wish  either  he  was  dead 
or  me.  (Mrs.  Holroyd  hides  against  him;  her  sobs 
cease;  after  a  while  he  continues  in  the  same  mur- 
muring fashion)  It  can't  go  on  like  it  any  more.  I 
feel  as  if  I  should  come  in  two.  I  can't  keep  away 
from  you.  I  simply  can't.  Come  with  me.  Come 
with  me  and  leave  him.  If  you  knew  what  a  hell  it  is 
for  me  to  have  you  here  —  and  to  see  him.  I  can't 
go  without  you,  I  can't.  It 's  been  hell  every  mo- 
ment for  six  months  now.  You  say  I  don't  love  you. 
Perhaps  I  don't,  for  all  I  know  about  it.  But  oh, 
my  God,  don't  keep  me  like  it  any  longer.  Why 
should  he  have  you  —  and  I  've  never  had  anything. 

MRS.  HOLROYD 

Have  you  never  loved  anybody? 


56  MRS.    HOLROYD  [act  ii 

BLACKMORE 

No  —  I  've  tried.     Kiss  me  of  jour  own  wish  —  will 
you? 

MRS.    HOLROYD 

I  don't  know, 
BLACKMORE  {after  a  pause) 

Let 's  break  clear.     Let 's  go  right  away.     Do  you 
care  for  me.'* 

MRS.    HOLROYD 

I  don't  know.     {She  loosens  herself ,  rises  dumbly) 

BLACKMORE 

When  do  you  think  you  will  know.? 
[^She  sits  down  helplessly. 

MRS.    HOLROYD 

I  don't  know. 

BLACKMORE 

Yes,  you  do  know,  really.     If  he  was  dead,  should 
you  marry  me? 

MRS.    HOLROYD 

Don't  say  it  — 

BLACKMORE 

Why  not?     If  wishing  of  mine  would  kill  him,  he  'd 
soon  be  out  of  the  way. 

MRS.    HOLROYD 

But  the  children! 

BLACKMORE 

I  'm  fond  of  them.    I  shall  have  good  money. 

MRS.    HOLROYD 

But  he's  their  father. 

BLACKMORE 

What  does  that  mean  — ? 


ACT  ii]  MRS.    HOLROYD  57 

MRS.    HOLROYD 

Yes,  I  know —  (a  pause)  but  — 

BLACKMORE 

Is  it  him  that  keeps  you? 

MRS.    HOLROYD 

No. 

BLACKMORE 

Then  come  with  me.  Will  you?  (He  stands  waiting 
for  her;  then  he  turns  and  takes  his  overcoat; 
pulls  it  on,  leaving  the  collar  turned  up,  ceasing  to 
twist  his  cap)  Well  —  will  you  tell  me  to-morrow? 
[She  goes  forward  and  flings  her  arms  round  his 
neck.    He  suddenly  kisses  her  passionately, 

MRS.    HOLROYD 

But  I  ought  not.  {She  draws  away  a  little;  he  will 
not  let  her  go) 

BLACKMORE 

Yes,  it 's  all  right.     {He  holds  her  close) 

MRS.    HOLROYD 

Is  it? 
BLACKMORE 

Yes,  it  is.    It 's  all  right. 

[He  kisses  her  again.    She  releases  herself  hut  holds 

his  hand.     They  keep  listening. 

MRS.    HOLROYD 

Do  you  love  me? 

BLACKMORE 

What  do  you  ask  for? 

MRS.    HOLROYD 

Have  I  hurt  you  these  months? 

BLACKMORE 

You  have  n't.  And  I  don't  care  what  it 's  been  if 
you  '11  come  with  me.     {There  is  a  noise  upstairs  and 


58  MRS.    HOLROYD  [act  ii 

they  wait)     You  will  soon,  won't  you? 
l^She  hisses  him, 

MRS.    HOLROYD 

He  's  not  safe.     {She  disengages  herself  and  sits  on 
the  sofa) 
BLACKMORE  (takes  a  place  beside  her,  holding  her  hand 
in  both  his)    You  should  have  waited  for  me. 

MRS.    HOLROYD 

How  wait.'* 

BLACKMORE 

And  not  have  married  him. 

MRS.  HOLROYD 

I  might  never  have  known  you  —  I  married  him  to 
get  out  of  my  place. 

BLACKMORE 

Why.? 

MRS.  HOLROYD 

I  was  left  an  orphan  when  I  was  six.  My  Uncle  John 
brought  me  up,  in  the  Coach  and  Horses  at  Rains- 
worth.  He  'd  got  no  children.  He  was  good  to  me, 
but  he  drank.  I  went  to  Mansfield  Grammar  School. 
Then  he  fell  out  with  me  because  I  would  n't  wait  in 
the  bar,  and  I  went  as  nursery  governess  to  Berry- 
man's.  And  I  felt  I  'd  nowhere  to  go,  I  belonged  to 
nowhere,  and  nobody  cared  about  me,  and  men  came 
after  me,  and  I  hated  it.  So  to  get  out  of  it,  I  mar- 
ried the  first  man  that  turned  up. 

BLACKMORE 

And  you  never  cared  about  him.? 

MRS.  HOLROYD 

Yes,  I  did.  I  did  care  about  him.  I  wanted  to  be  a 
wife  to  him.  But  there  's  nothing  at  the  bottom  of 
him,  if  you  know  what  I  mean.     You  can't  get  any- 


ACT  ii]  MRS.    HOLROYD  59 

where  with  him.  There  's  just  his  body  and  nothing 
else.  Nothing  that  keeps  him,  no  anchor,  no  roots, 
nothing  satisfying.  It 's  a  horrible  feeling  there  is 
about  him,  that  nothing  is  safe  or  permanent  — 
nothing  is  anything  — 

BLACKMORE 

And  do  you  think  you  can  trust  me? 

MRS.  HOLROYD 

I  think  you  're  different  from  him, 

BLACKMORE 

Perhaps  I  'm  not. 
MRS.  HOLROYD  (warmly) 
You  are. 

BLACKMORE 

At  any  rate,  we  '11  see.  You  '11  come  on  Saturday  to 
London  ? 

MRS.  HOLROYD 

Well,  you  see,  there  's  my  money.  I  have  n't  got  it 
yet.  My  uncle  has  left  me  about  a  hundred  and 
twenty  pounds. 

BLACKMORE 

Well,  see  the  lawyer  about  it  as  soon  as  you  can.  I 
can  let  you  have  some  money  if  you  want  any.  But 
don't  let  us  wait  after  Saturday. 

MRS.  HOLROYD 

But  is  n't  it  wrong? 

BLACKMORE 

Why,  if  you  don't  care  for  him,  and  the  children  are 
miserable  between  the  two  of  you  —  which  they  are — 

MRS.  HOLROYD 

Yes. 

BLACKMORE 

Well,  then  I  see  no  wrong.     As  for  him  —  he  would 


60  MRS.    HOLROYD  [act  ii 

go  one  way,  and  only  one  way,  whatever  you  do. 
Damn  him,  he  does  n't  matter. 

MRS.  HOLROYD 

No. 

BLACKMORE 

Well,  then  —  have  done  with  it.  Can't  you  cut  clean 
of  him?     Can't  you  now? 

MRS.  HOLROYD 

And  then  —  the  children  — 

BLACKMORE 

They  '11  be  all  right  with  me  and  you  —  won't 
they? 

MRS.    HOLROYD 

Yes  — 

BLACKMORE 

Well,  then.  Now,  come  and  have  done  with  it.  We 
can't  keep  on  being  ripped  in  two  like  this.  We 
need  never  hear  of  him  any  more. 

MRS.    HOLROYD 

Yes  —  I  love  you.    I  do  love  you  — 

BLACKMORE 

Oh,  my  God!  {He  speaks  with  difficulty  —  em- 
bracing her) 

MRS.  HOLROYD 

When  I  look  at  him,  and  then  at  you  —  ha — (she 
gives  a  short  laugh) 

BLACKMORE 

He  's  had  all  the  chance  —  it 's  only  fair  —  Lizzie  — 

MRS.   HOLROYD 

My  love. 

[There  is  silence.  He  keeps  his  arm  round  her.  After 

hesitating,  he  picks  up  his  cap. 


ACT  ii]  MRS.    HOLROYD  61 

BLACKMORE 

I  '11  go  then  —  at  any  rate.     Shall  you  come  with  me.'' 
[She  follows  him  to  the  door, 

MRS.  HOLROYD 

I  '11  come  on  Saturday. 

BLACKMORE 

Not  now.? 

CURTAIN 


THE    THIRD   ACT 

Scene,  the  same.  Time,  the  following  evening,  about 
seven  o'clock.  The  table  is  half  laid,  with  a  large  cwp 
and  saucer,  plate,  etc.,  ready  for  Holroyd's  dinner, 
which,  like  all  miners,  he  has  when  he  comes  home  be- 
tween four  and  five  o'clock.  On  the  other  half  of  the 
table  Mrs.  Holroyd  is  ironing.  On  the  hearth  stands 
newly  baked  loaves  of  bread.  The  irons  hang  at  the 
fire. 

Jack,  with  a  bowler  hat  hanging  at  the  back  of  his 
head,  parades  up  to  the  sofa,  on  which  stands  Minnie 
engaged  in  dusting  a  picture.  She  has  a  soiled  white 
apron  tied  behind  her,  to  make  a  long  skirt, 

JACK 

Good   mornln',   missis.     Any   scissors   or  knives   to 
grind  ? 
MINNIE  (peering  down  from  the  sofa) 

Oh,  I  can't  be  bothered  to  come  downstairs.     Call 
another  day. 

JACK 

I  shan't. 
MINNIE  (keeping  up  her  part) 

Well,  I  can't  come  down  now.    (Jack  stands  irreso- 
lute)   Go  on,  you  have  to  go  and  steal  the  baby. 

JACK 

I  'm  not. 


ACT  III]  MRS.    HOLROYD  63 

MINNIE 

Well,  you  can  steal  the  eggs  out  of  the  fowl-house. 

JACK 

I  'm  not. 

MINNIE 

Then  I  shan't  play  with  you.  {Jack  takes  off  his 
howler  hat  and  flings  it  on  the  sofa;  tears  come  vn 
Minnie's  eyes)  Now  I  'm  not  friends.  {She  surveys 
him  ruefully;  after  a  few  moments  of  silence  she 
clambers  down  and  goes  to  her  mother)  Mam,  he 
won't  play  with  me. 

MRS.    HOLROYD  {crOSsly) 

Why  don't  you  play  with  her.?  If  you  begin  bother- 
ing, you  must  go  to  bed. 

JACK 

Well,  I  don't  want  to  play, 

MRS.    HOLROYD 

Then  you  must  go  to  bed. 

JACK 

I  don't  want  to. 

MRS.    HOLROYD 

Then  what  do  you  want,  I  should  like  to  know.'^ 

MINNIE 

I  wish  my  father  'd  come. 

JACK 

I  do. 

MRS.    HOLROYD 

I  suppose  he  thinks  he  's  paying  me  out.     This  is  the 

third  time  this  week  he  's  slunk  past  the  door  and 

gone  down  to  Old  Brinsley  instead  of  coming  in  to 

his  dinner.    He  '11  be  as  drunk  as  a  lord  when  he  does 

come. 

[The  children  look  at  her  plaintively. 


64  MRS.    HOLROYD  [act  hi 

MINNIE 

Is  n't  he  a  nuisance? 

JACK 

I  hate  him.    I  wish  he  'd  drop  down  th'  pit-shaft. 

MRS.    HOLROYD 

Jack !  —  I  never  heard  such  a  thing  in  my  life  !  You 
must  n't  say  such  things  —  it 's  wicked. 

JACK 

Well,  I  do. 

MRS.    HOLROYD    {loudly) 

I  won't  have  it.    He  's  your  father,  remember. 
JACK  {in  a  high  voice) 

Well,  he 's  always  comin'  home  an'  shoutin'  an' 
bangin'  on  the  table.  {He  is  getting  tearful  and  de- 
fiant ) 

MRS.  HOLROYD 

Well,  you  must  n't  take  any  notice  of  him. 
MINNIE  {wistfully) 

'Appen  if  you  said  something  nice  to  him,  mother, 
he  'd  happen  go  to  bed,  and  not  shout. 

JACK 

I  'd  hit  him  in  the  mouth. 

MRS.    HOLROYD 

Perhaps  we  '11  go  to  another  country,  away  from 
him  —  should  we  ? 

JACK 

In  a  ship,  mother.? 

MINNIE 

In  a  ship,  mam } 

MRS.    HOLROYD 

Yes,  in  a  big  ship,  where  it 's  blue  sky,  and  water 
and  palm-trees,  and  — 


ACT  in]  MRS.    HOLROYD  65 

MINNIE 

An'  dates  — ? 

JACK 

When  should  we  go  ? 

MRS.    HOLKOYD 

Some  day. 

MINNIE 

But  who  'd  work  for  us.?     Who  should  we  have  for 
father  ? 

JACK 

You  don't  want  a  father.     I  can  go  to  work  for  us. 

MRS.    HOLROYD 

I  've  got  a  lot  of  money  now,  that  your  uncle  left  me. 
MINNIE  (after  a  general  thoughtful  silence) 
An'  would  my  father  stop  here.'' 

MRS.    HOLROYD 

Oh,  he  'd  be  all  right. 

MINNIE 

But  who  would  he  live  with.?^ 

MRS.    HOLROYD 

I  don't  know  —  one  of  his  paper  bonnets,  if  he  likes. 

MINNIE 

Then  she  could  have  her  old  bracelet  back,  could  n't 
she.'* 

MRS.    HOLROYD 

Yes  —  there  it  is  on  the  candlestick,  waiting  for  her. 
[There  is  a  sound  of  footsteps  —  then  a  knock  at  the 
door.    The  children  start, 
MINNIE  (in  relief) 
Here  he  is. 
[Mrs,  Holroyd  goes  to  the  door,    Blackmore  enters. 


66  MRS.    HOLROYD  [act  hi 

BLACKMORE 

It  is  foggy  to-night —  Hello,  aren't  you  young- 
sters gone  to  bed? 

MINNIE 

No,  my  father  's  not  come  home  yet. 
BLACKMORE  (tuming  to  Mrs.  Holroyd) 
Did  he  go  to  work  then,  after  last  night  .f* 

MRS.    HOLROYD 

I  suppose  so.  His  pit  things  were  gone  when  I  got 
up.    I  never  thought  he  'd  go. 

BLACKMORE 

And  he  took  his  snap  as  usual  .f^ 

MRS.    HOLROYD 

Yes,  just  as  usual.  I  suppose  he  's  gone  to  the  New 
Inn.  He  'd  say  to  himself  he  'd  pay  me  out.  That 's 
what  he  always  does  say,  "  I  '11  pay  thee  out  for  that 
bit  —     I  '11  ma'e  thee  regret  it." 

JACK 

We  're  going  to  leave  him. 

BLACKMORE 

So  you  think  he  's  at  the  New  Inn? 

MRS.    HOLROYD 

I  'm  sure  he  is  —  and  he  '11  come  when  he  's  full. 
He  '11  have  a  bout  now,  you  '11  see. 

MINNIE 

Go  and  fetch  him,  Mr.  Blackmore. 

JACK 

My  mother  says  we  shall  go  in  a  ship  and  leave  him. 

BLACKMORE   {after  looking  keenly  at  Jack:    to  Mrs. 

Holroyd)    Shall  I  go  and  see  if  he  's  at  the  New  Inn  ? 

MRS.    HOLROYD 

No  —  perhaps  you  'd  better  not  — 


ACT  in]  MRS.    HOLROYD  67 

BLACKMORE 

Oh,  he  shan't  see  me.     I  can  easily  manage  that. 

JACK 

Fetch  him,  Mr.  Blackmore. 

BLACKMORE 

All  right,  Jack.   {To  Mrs.  Holroyd)    Shall  I? 

MRS.    HOLROYD 

We  're  always  pulling  on  you  —     But  yes,  do ! 
[Blachmore  goes  out. 

JACK 

I  wonder  how  long  he  '11  be. 

MRS.    HOLROYD 

You  come  and  go  to  bed  now :   you  'd  better  be  out 
of  the  way  when  he  comes  in. 

MINNIE 

And  you  won't  say  anything  to  him,  mother,  will 
you.? 

MRS.    HOLROYD 

What  do  you  mean.'* 

MINNIE 

You  won't  begin  of  him  —  row  him. 

MRS.    HOLROYD 

Is  he  to  have  all  his  own  way?     What  would  he  be 
like,  if  I  did  n't  row  him  ? 

JACK 

But  it  does  n't  matter,  mother,  if  w^e  're  going  to 
leave  him  — 

MINNIE 

But  Mr.  Blackmore  '11  come  back,  won't  he,  mam, 
and  dad  won't  shout  before  him  ? 
MRS.  HOLROYD  (beginning  to  undress  the  children) 
Yes,  he  '11  come  back. 


68  MRS.    HOLROYD  [act  hi 

MINNIE 

Mam  —  could  I  have  that  bracelet  to  go  to  bed  with? 

MRS.    HOLROYD 

Come  and  say  your  prayers. 

[^They  hneel,  muttering  in  their  mother's  apron, 
MINNIE  {suddenly  lifting  her  head) 

Can  I,  mam? 
MRS.  HOLROYD  {trying  to  he  stern) 

Have  you  finished  your  prayers? 

MINNIE 

Yes. 

MRS.    HOLROYD 

If  you  want  it  —  beastly  thing!  {She  reaches 
the  bracelet  down  from  the  mantelpiece)  Your  father 
must  have  put  it  up  there  —  I  don't  know  where  I 
left  it.  I  suppose  he  'd  think  I  was  proud  of  it  and 
wanted  it  for  an  ornament. 

[Minnie  gloats  over  it.  Mrs,  Holroyd  lights  a  candle 
and  they  go  upstairs.  After  a  few  moments  the  outer 
door  opensy  and  there  enters  an  old  woman.  She  is  of 
middling  stature  and  wears  a  large  gray  shawl  over 
her  head.  After  glancing  sharply  round  the  room, 
she  advances  to  the  fire,  warnns  herself,  then,  taking 
off  her  shawl,  sits  in  the  rocking-chair.  As  she  hears 
Mrs.  Holroyd' s  footsteps,  she  folds  her  hands  and 
puts  on  a  lachrymose  expression,  turning  down  the 
corners  of  her  mouth  and  arching  her  eyebrows, 

MRS.    HOLROYD 

Hello,  mother,  is  it  you? 

GRANDMOTHER 

Yes,  it 's  me.    Have  n't  you  finished  ironing? 

MRS.    HOLROYD 

Not  yet. 


ACT  III]  INIRS.    HOLROYD  69 

GRANDMOTHER 

You  '11  have  your  irons  red-hot. 

MRS.    HOLROYD 

Yes,  I  s'll  have  to  stand  them  to  cool.  (^She  does  so, 
and  moves  about  at  her  ironing) 

GRANDMOTHER 

And  you  don't  know  what 's  become  of  Charles  ? 

MRS.    HOLROYD 

Well,  he  's  not  come  home  from  work  yet.  I  supposed 
he  was  at  the  New  Inn  —     Why  ? 

GRANDMOTHER 

That  young  electrician  come  knocking  asking  if  I 
knew  where  he  was.  "  Eh,"  I  said,  "  I  've  not  set 
eyes  on  him  for  over  a  week  —  nor  his  wife  neither, 
though  they  pass  th'  garden  gate  every  time  they  go 
out.  I  know  nowt  on  'im."  I  axed  him  what 
was  the  matter,  so  he  said  Mrs.  Holroyd  was  anxious 
because  he  'd  not  come  home,  so  I  thought  I  'd  better 
come  and  see.    Is  there  anything  up.'' 

MRS.    HOLROYD 

No  more  than  I  've  told  you. 

GRANDMOTHER 

It 's  a  rum  'un,  if  he  's  neither  in  the  New  Inn  nor 
the  Prince  o'  Wales.  I  suppose  something  you  've 
done  's  set  him  oif . 

MRS.    HOLROYD 

It 's  nothing  I  've  done. 

GRANDMOTHER 

Eh,  if  he  's  gone  off  and  left  you,  whativer  shall  we 
do!    Whativer  'ave  you  been  doing? 

MRS.    HOLROYD 

He  brought  a  couple  of  bright  daisies  here  last  night 


70  MRS.    HOLROYD  [act  hi 

—  two  of  those  trollops  from  Nottingham  —  and  I 
said  I  'd  not  have  it. 
GRANDMOTHER  (sigMng  deeply) 

Ay,  you  've  never  been  able  to  agree. 

MRS.    HOLROYD 

We  agreed  well  enough  except  when  he  drank  like  a 
fish  and  came  home  rolling. 
GRANDMOTHER  (whining) 

Well,  what  can  you  expect  of  a  man  as  'as  been 
shut  up  i'  th'  pit  all  day.?  He  must  have  a  bit  of 
relaxation. 

MRS.    HOLROYD 

He  can  have  it  different  from  that,  then.  At  any 
rate,  I  'm  sick  of  it. 

GRANDMOTHER 

Ay,  you  've  a  stiff  neck,  but  it  '11  be  bowed  by  you  're 

my  age. 

MRS.    HOEROYD 

Will  it  ?    I  'd  rather  it  were  broke. 

GRANDMOTHER 

Well  —  there's  no  telling  what  a  jealous  man  will 
do.    (She  shakes  her  head) 

MRS.    HOLROYD 

Nay,  I  think  it 's  my  place  to  be  jealous,  when  he 
brings  a  brazen  hussy  here  and  sits  carryin'  on  with 
her. 

GRANDMOTHER 

He  'd  no  business  to  do  that.  But  you  know,  Lizzie, 
he  's  got  something  on  his  side. 

MRS.    HOLROYD 

What,  pray.? 

GRANDMOTHER 

Well,  I  don't  want  to  make  any  mischief,  but  you  're 


ACT  III]  MRS.    HOLROYD  71 

my  son's  wife,  an'  it 's  nothing  but  my  duty  to  tell 
you.  They  've  been  saying  a  long  time  now  as  that 
young  electrician  is  here  a  bit  too  often. 

MRS.    HOLROYD 

He  does  n't  come  for  my  asking. 

GRANDMOTHER 

No,  I  don't  suppose  he  wants  for  asking.  But 
Charlie  's  not  the  man  to  put  up  with  that  sort  o' 
work. 

MRS.    HOLROYD 

Charlie  put  up  with  it !  If  he  's  anything  to  say,  why 
does  n't  he  say  it,  without  going  to  other  folks  ,  ,  ,  ? 

GRANDMOTHER 

Charlie  's  never  been  near  me  with  a  word  —  nor  'as 
he  said  a  word  elsewhere  to  my  knowledge.  For  all 
that,  this  is  going  to  end  with  trouble. 

MRS.    HOLROYD 

In  this  hole,  every  gossiping  creature  thinks  she  's 
got  the  right  to  cackle  about  you  —  sickening !  And 
a  parcel  of  lies. 

GRANDMOTHER 

Well,  Lizzie,  I  've  never  said  anything  against  you. 
Charlie  's  been  a  handful  of  trouble.  He  made  my 
heart  ache  once  or  twice  afore  you  had  him,  and  he  's 
made  it  ache  many,  many  's  the  time  since.  But  it 's 
not  all  on  his  side,  you  know. 

MRS.    HOLROYD  (Jiotly) 

No,  I  don't  know. 

GRANDMOTHER 

You  thought  yourself  above  him,  Lizzie,  an'  you 
know  he  's  not  the  man  to  stand  it. 

MRS.    HOLROYD 

No,  he  's  run  away  from  it. 


72  MRS.    HOLROYD  [act  hi 

GRANDMOTHER   {veUOmOUSly) 

And  what  man  would  n't  leave  a  woman  that  allowed 
him  to  live  on  sufferance  in  the  house  with  her,  when 
he  was  bringing  the  money  home? 

MRS.    HOLROYD 

"  Sufferance !  "  —  Yes,  there  's  been  a  lot  of  letting 
him  live  on  "  sufferance  "  in  the  house  with  me.  It 
is  /  who  have  lived  on  sufferance,  for  his  service  and 
pleasure.  No,  what  he  wanted  was  the  drink  and  the 
public  house  company,  and  because  he  could  n't  get 
them  here,  he  went  out  for  them.     That 's  all. 

GRANDMOTHER 

You  have  always  been  very  clever  at  hitting  things 
off,  Lizzie.  I  was  always  sorry  my  youngest  son  mar- 
ried a  clever  woman.  He  only  wanted  a  bit  of  coax- 
ing and  managing,  and  you  clever  women  won't  do  it. 

MRS.    HOLROYD 

He  wanted  a  slave,  not  a  wife. 

GRANDMOTHER 

It 's  a  pity  your  stomach  was  n't  too  high  for  him, 
before  you  had  him.  But  no,  you  could  have  eaten 
him  ravishing  at  one  time. 

MRS.    HOLROYD 

It 's  a  pity  you  did  n't  tell  me  what  he  was  before 
I  had  him.  But  no,  he  was  all  angel.  You  left  me 
to  find  out  what  he  really  was. 

GRANDMOTHER 

Some  women  could  have  lived  with  him  happy  enough. 
An'  a  fat  lot  you  'd  have  thanked  me  for  my  telling. 
[There  is  a  knock  at  the  door,    Mrs,  Holroyd  opens, 

EIGLEY 

They  tell  me,  missus,  as  your  mester  's  not  hoom 
yet. 


ACT  III]  MRS.    HOLROYD  73 

MRS.    HOLROYD 

No  —  who  is  it  ? 

GRANDMOTHER 

Ask  him  to  step  inside.  Don't  stan'  there  lettin' 
the  fog  in. 

[Rigley  steps  in.  He  is  a  tall,  bony,  very  roughly 
hewn  collier, 

aiGLEY 

Good  evenin'. 

GRANDMOTHER 

Oh,  is  it  you,  Mr.  Rigley?  (In  a  querulous,  spiteful 
tone  to  Mrs.  Holroyd)  He  butties  along  with  Charlie. 

MRS.    HOLROYD 

Oh! 

RIGLEY 

An'  han  yer  seen  nowt  on  'im.? 

MRS.    HOLROYD 

No  —  was  he  all  right  at  work.'* 

RIGLEY 

Well,  'e  wor  nowt  to  mention.  A  bit  short,  like: 
'adna  much  to  say.  I  canna  ma'e  out  what  'e  's  done 
wi'  'issen.  {He  is  manifestly  uneasy,  does  not  look 
at  the  two  women) 

GRANDMOTHER 

An'  did  'e  come  up  i'  th'  same  bantle  wi'  you.'' 

RIGLEY 

No  —  'e  didna.  As  Ah  was  comin'  out  o'  th'  stall, 
Ah  shouted,  "Art  comin',  Charlie?  We're  a'  off." 
An'  'e  said,  "  Ah  'm  comin'  in  a  minute."  'E  wor  just 
finishin'  a  stint,  like,  an'  'e  wanted  ter  get  it  set.  An' 
'e  'd  been  a  bit  roughish  in  'is  temper,  like,  so  I  thowt 
'e  didna  want  ter  walk  to  th'  bottom  wi'  us.  .  .  . 


74  MRS.    HOLROYD  [act  iii 

GRANDMOTHER  (waiUng) 

An'  what 's  'e  gone  an'  done  to  himself? 

EIGLEY 

Nay,  missis,  yo  munna  ax  me  that.  'E  's  non  done 
owt  as  Ah  know  on.  On'y  I  wor  thinkin',  'appen 
summat  'ad  'appened  to  'im,  Hke,  seein'  as  nob'dy  had 
any  knowings  of  'im  comin'  up. 

MRS.    HOLROYD 

What  is  the  matter,  Mr.  Rigley.?    Tell  us  it  out. 

RIGLEY 

I  canna  do  that,  missis.    It  seems  as  if  'e  niver  come 

up  th'  pit  —  as  far  as  we  can  make  out.     'Appen  a 

bit  o'  stuff  's  fell  an'  pinned  'im. 
GRANDMOTHER  {wailing) 

An'  'ave  you  left  'im  lying  down  there  in  the  pit, 

poor  thing? 
RIGLEY  {uneasily) 

I  couldna  say  for  certain  where  'e  is. 
MRS.  HOLROYD  {agitated) 

Oh,  it 's  very  likely  not  very  bad,  mother !    Don't  let 

us  run  to  meet  trouble. 

RIGLEY 

We  'ave  to  'ope  for  th'  best,  missis,  all  on  us. 

GRANDMOTHER  (waiUng) 

Eh,  they  '11  bring  'im  'ome,  I  know  they  will,  smashed 
up  an'  broke !  An'  one  of  my  sons  they  've  burned 
down  pit  till  the  flesh  dropped  off  'im,  an'  one  was 
shot  till  'is  shoulder  was  all  of  a  mosh,  an'  they 
brought  'em  'ome  to  me.    An'  now  there  's  this.  .  .  . 

MRS.  HOLROYD  (shuddering) 

Oh,  don't,  mother.  (Appealingly  to  Rigley)  You 
don't  know  that  he  's  hurt? 


ACT  III]  MRS.    HOLROYD  75 

EiGLEY  (shaking  his  head) 

I  canna  tell  you. 
MRS.  HOLROYD  (in  tt  high  hysterical  voice) 

Then  what  is  it? 
RiGLEY  (very  uneasy) 

I  canna  tell  you.     But  yon  young  electrician  —  Mr. 

Blackmore  —  'e  rung  down  to  the  night  deputy,  an' 

it  seems  as  though  there  's  been  a  fall  or  summat.  .  .  . 

GRANDMOTHER 

Eh,  Lizzie,  you  parted  from  him  in  anger.    You  little 
knowed  how  you  'd  meet  him  again. 
RiGLEY  (making  an  effort) 

Well,  I  'd  'appen  best  be  goin'  to  see  what 's  betide. 
(He  goes  out) 

GRANDMOTHER 

I  'm  sure  I  've  had  my  share  of  bad  luck,  I  have.  I  'm 
sure  I  've  brought  up  five  lads  in  the  pit,  through 
accidents  and  troubles,  and  now  there  's  this.  The 
Lord  has  treated  me  very  hard,  very  hard.  It 's  a 
blessing,  Lizzie,  as  you  've  got  a  bit  of  money,  else 
what  would  'ave  become  of  the  children? 

MRS.  HOLROYD 

Well,  if  he  's  badly  hurt,  there  '11  be  the  Union-pay, 
and  sick-pay  —  we  shall  manage.  And  perhaps  it 's 
not  very  much. 

GRANDMOTHER 

There  's  no  knowin'  but  what  they  '11  be  carryin'  him 
to  die  i'  th'  hospital. 

MRS.    HOLROYD 

Oh,  don't  say  so,  mother  —  it  won't  be  so  bad,  you  '11 

see. 

GRANDMOTHER 

How  much  money  have  you,  Lizzie,  comin'? 


76  MRS.    HOLROYD  [act  iii 

MRS.    HOLROYD  , 

I  don't  know  —  not  much  over  a  hundred  pounds. 
GRANDMOTHER  {shaking  her  head) 

An'  what 's  that,  what 's  that  ? 
MRS.  HOLROYD  {shavply) 

Hush! 
GRANDMOTHER  (cryiug) 

Why,  what? 

\_Mrs,  Holroyd  opens  the  door.    In  the  silence  can  he 

heard  the  pulsing  of  the  fan  engine,  then  the  driving 

engine  chuffs  rapidly:  there  is  a  skirr  of  brakes  on 

the  rope  as  it  descends, 

MRS.    HOLROYD 

That 's  twice  they  've  sent  the  chair  down  —  I  wish 
we  could  see.  .  .  .  Hark! 

GRANDMOTHER 

What  is  it.? 

MRS.    HOLROYD 

Yes  —  it 's  stopped  at  the  gate.    It 's  the  doctor's. 
GRANDMOTHER  (coming  to  the  door) 
What,  Lizzie? 

MRS.    HOLROYD 

The  doctor's  motor,    (a^^^  listens  acutely)    Dare  you 
stop  here,  mother,  while  I  run  up  to  the  top  an'  see? 

GRANDMOTHER 

You  'd  better  not  go,  Lizzie,  you  'd  better  not.     A 
woman  's  best  away. 

MRS.    HOLROYD 

It  is  unbearable  to  wait. 

GRANDMOTHER 

Come  in  an'  shut  the  door  —  it 's  a  cold  that  gets  in 
your  bones.    {She  goes  in) 


ACT  III]  MRS.    HOLROYD  77 

MES.    HOLROYD 

Perhaps  while  he  's  in  bed  we  shall  have  time  to 
change  him.  It 's  an  ill  wind  brings  no  good.  He  '11 
happen  be  a  better  man. 

GRANDMOTHER 

Well,  you  can  but  try.  Many  a  woman  's  thought 
the  same. 

MRS.    HOLROYD 

Oh,  dear,  I  wish  somebody  would  come.  He  's  never 
been  hurt  since  we  were  married. 

GRANDMOTHER 

No,  he  's  never  had  a  bad  accident,  all  the  years  he  's 
been  in  the  pit.     He  's  been  luckier  than  most.     But 
everybody  has  it,  sooner  or  later. 
MRS.  HOLROYD  (shweriug) 
It  is  a  horrid  night. 

GRANDMOTHER    (  qUeVuloUS  ) 

Yes,  come  your  ways  in. 

MRS.    HOLROYD 

Hark! 

[There  is  a  quick  sound  of  footsteps,     BlacTcmore 

comes  into  the  light  of  the  doorway. 

BLACKMORE 

They  're  bringing  him. 
MRS.  HOLROYD    (quickly   putting   her   hand   over   her 
breast)  What  is  it.f* 

BLACKMORE 

Y^ou  can't  tell  anything 's  the  matter  with  him  — 
it 's  not  marked  him  at  all. 

MRS.    HOLROYD 

Oh,  what  a  blessing!    And  is  it  much.? 

BLACKMORE 

Well  — 


78  MRS.    HOLROYD  [act  iii 

MRS.    HOLROYD 

What  is  it.? 

BLACKMORE 

It 's  the  worst. 

GRANDMOTHER 

Who  is  it.? —    What  does  he  say.? 
[Mrs.  Holroyd  sinks  on  the  nearest  chair  with  a  hor- 
rified expression,     Blackmore  pvlls  himself  together 
and  enters.     He  is  very  pale, 

BLACKMORE 

I  came  to  tell  you  they  're  bringing  him  home. 

GRANDMOTHER 

And  you  said  it  was  n't  very  bad,  did  you.? 

BLACKMORE 

No  —  I  said  it  was  —  as  bad  as  it  could  be. 
MRS.  HOLROYD  (^rising  and  crossing  to  her  mother-in- 
law,  flings  her  arms  round  her;   in  a  high  voice)    Oh, 
mother,  what  shall  we  do.?    What  shall  we  do? 

GRANDMOTHER 

You  don't  mean  to  say  he  's  dead.? 

BLACKMORE 

Yes. 

GRANDMOTHER   (stariUg) 

God  help  us,  and  how  was  it.? 

BLACKMORE 

Some  stuff  fell. 
GRANDMOTHER  (rocking  herself  and  her  daughter-in- 
law  —  both  weeping)  Oh,  God  have  mercy  on  us  !  Oh, 
God  have  mercy  on  us !  Some  stuff  fell  on  him.  An' 
he  'd  not  even  time  to  cry  for  mercy ;  oh,  God  spare 
him!  Oh,  what  shall  we  do  for  comfort?  To  be 
taken  straight  out  of  his  sins.  Oh,  Lizzie,  to  think 
he  should  be  cut  off  in  his  wickedness !     He  's  been 


ACT  III]  MRS.    HOLROYD  79 

a  bad  lad  of  late,  he  has,  poor  lamb.  He  's  gone 
very  wrong  of  late  years,  poor  dear  lamb,  very 
wrong.  Oh,  Lizzie,  think  what  's  to  become  of  him 
now !  If  only  you  'd  have  tried  to  be  different  with 
him. 

MRS.  HOLUOYD  (moaning) 

Don't,  mother,  don't.    I  can't  bear  it. 

BLACKMORE  {cold  and  clear) 

Where  will  you  have  him  laid.^  The  men  will  be  here 
in  a  moment. 

MRS.  HOLROYD  {starting  up) 

They  can  carry  him  up  to  bed  — 

BLACKMORE 

It 's  no  good  taking  him  upstairs.     You  '11  have  to 
wash  him  and  lay  him  out. 
MRS.  HOLROYD  {startled) 
Well  — 

BLACKMORE 

He  's  in  his  pit-dirt. 

GRANDMOTHER 

He  is,  bless  him.  We  'd  better  have  him  down  here, 
Lizzie,  where  we  can  handle  him. 

MRS.    HOLROYD 

Yes. 

[She  begins  to  put  the  tea  things  away,  hut  drops 
the  sugar  out  of  the  basin  and  the  lumps  fly  broad- 
cast, 

BLACKMORE 

Never  mind,  I  '11  pick  those  up.  You  put  the  chil- 
dren's clothes  away. 

l^Mrs,  Holroyd  stares  witless  around.  The  Grand- 
mother sits  rocking  herself  and  weeping.  Blaclcmore 
clears   the  table,  putting  the  pots  in  the  scullery. 


80  MRS.    HOLROYD  [act  m 

He  folds  the  white  tablecloth  and  pulls  hack  the  table. 
The  door  opens,  Mrs.  Holroyd  utters  a  cry.  Rig- 
ley  enters. 

BIGLEY 

They  're  bringing  him  now,  missis. 

MRS.    HOLROYD 

Oh! 
RiGLEY  (^simply) 

There  must  ha'  been  a  fall  directly  after  we  left  him. 
MRS.  HOLROYD  (^frownmg,  horrified) 

No  —  no ! 
RIGLEY  {to  Blacl-more) 

It  fell  a'  back  of  him,  an'  shut  'im  in  as  you  might 

shut  a  loaf  i'  th'  oven.    It  never  touched  him. 
MRS.  HOLROYD  (sturing  distractedly) 

Well,  then  — 

RIGLEY 

You  see,  it  come  on  'im  as  close  as  a  trap  on  a  mouse, 
an'  gen  him  no  air,  an'  what  wi'  th'  gas,  it  smothered 
him.    An'  it  wouldna  be  so  very  long  about  it  neither. 
MRS.  HOLROYD  (quict  with  horror) 
Oh! 

GRANDMOTHER 

Eh,  dear  —  dear.    Eh,  dear  —  dear. 

RIGLEY  (looking  hard  at  her) 

I  wasna  to  know  what  'ud  happen. 

GRANDMOTHER  (not  heeding  him,  hut  weeping  all  the 
time)  But  the  Lord  gave  him  time  to  repent.  He  'd 
have  a  few  minutes  to  repent.  Ay,  I  hope  he  did,  I 
hope  he  did,  else  what  was  to  become  of  him.  The 
Lord  cut  him  off  in  his  sins,  but  He  gave  him  time 
to  repent. 


ACT  III]  MRS.    HOLROYD  81 

[^Rigley  looks  away  at  the  wall.  Blackmore  has  made 
a  space  in  the  middle  of  the  floor. 

BLACKMORE 

If  you  '11  take  the  rocking-chair  off  the  end  of  the 
rug,  Mrs.  Holroyd,  I  can  pull  it  back  a  bit  from 
the  fire,  and  we  can  lay  him  on  that. 
GEANDMOTHER  (petulantly) 

What 's  the  good  of  messing  about  —    (She  moves) 

MRS.  HOLROYD 

It  suffocated  him? 
EiGLEY  (shaking  his  head,  briefly) 
Yes.     'Appen  th'  after-damp  — 

BLACKMORE 

He  'd  be  dead  in  a  few  minutes. 

MRS.  HOLROYD 

No  —  oh,  think ! 

BLACKMORE 

You  must  n't  think. 

RiGLEY  (suddenly) 
They  commin'! 

[Mrs.  Holroyd  stands  at  bay.  The  Grandmother 
half  rises,  Rigley  and  Blackmore  efface  themselves 
as  much  as  possible.  A  man  backs  into  the  room, 
bearing  the  feet  of  the  dead  man,  which  are  shod  in 
great  pit  boots.  As  the  head  bearer  comes  awk- 
wardly past  the  table,  the  coat  with  which  the  body 
is  covered  slips  off,  revealing  Holroyd  in  his  pit-dirty 
naked  to  the  waist. 

MANAGER  (a  little  stout,  white-bearded  man) 

Mind  now,  mind.  Ay,  missis,  what  a  job,  indeed,  it 
is!    (Sharply)    Where  mun  they  put  him.? 

MRS.  HOLROYD  (turning  her  face  aside  from  the  corpse) 
Lay  him  on  the  rug. 


82  MRS.    HOLROYD  [act  ra 

MANAGER 

Steady  now,  do  it  steady. 
SECOND  BEARER   (rising  and  pressing  back  his  shoiiL- 
ders)     By  Guy,  but  'e  'ings  heavy. 

MANAGER 

Yi,  Joe,  I  '11  back  my  life  o'  that. 

GRANDMOTHER 

Eh,  Mr.  Chambers,  what 's  this  affliction  on  my  old 
age.  You  kept  your  sons  out  o'  the  pit,  but  all 
mine  's  in.  And  to  think  of  the  trouble  I  've  had  — 
to  think  o'  the  trouble  that 's  come  out  of  Brinsley 
pit  to  me. 

MANAGER 

It  has  that,  it  'as  that,  missis.     You  seem  to  have 
had  more  'n  your  share ;    I  '11  admit  it,  you  have. 
MRS.  HOLROYD  {who  has  been  staring  at  the  men) 
It  is  too  much ! 
\_Blackmore  frowns;  Rigley  glowers  at  her, 

MANAGER 

You  never  knowed  such  a  thing  in  your  life.  Here  's 
a  man,  holin'  a  stint,  just  finishin'  (He  puts  himself 
as  if  in  the  holer's  position,  gesticulating  freely) 
An'  a  lot  o'  stuff  falls  behind  him,  clean  as  a  whistle, 
shuts  him  up  safe  as  a  worm  in  a  nut  and  niver 
touches  him  —  niver  knowed  such  a  thing  in  your 
life. 

MRS.    HOLROYD 

Ugh! 

MANAGER 

It  niver  hurt  him  —  niver  touched  him. 

MRS.    HOLROYD 

Yes,  but  —  but  how  long  would  he  be  {she  makes  a 
sweeping  gesture;    the  Manager  looks  at  her  and  will 


ACT  III]  MRS.    HOLROYD  83 

not  help  her  out)  —  how  long  would  it  take  —  oh  — 
to  —  to  kill  him? 

MANAGER 

Nay,  I  canna  tell  ye.     'E  didna  seem  to  ha'  strived 
much  to  get  out  —  did  he,  Joe  ? 

SECOND    BEARER 

No,  not  as  far  as  Ah  'n  seen. 

FIRST    BEARER 

You  look  at  'is  'ands,  you  '11  see  then.     'E  'd  non 
ha'e  room  to  swing  the  pick. 
\_The  Manager  goes  on  his  knees, 
MRS.  HOLROYD  (shuddering) 
Oh,  don't! 

MANAGER 

Ay,  th'  nails  is  broken  a  bit  — 
MRS.  HOLROYD  {clencMng  her  fists) 
Don't! 

MANAGER 

'E  'd  be  sure  ter  ma'e  a  bit  of  a  fight.     But  th'  gas 
'ud  soon  get  hold  on  'im.     Ay,  it 's  an  awful  thing 
to  think  of,  it  is  indeed. 
MRS.  HOLROYD  (her  voice  breaking) 
I  can't  bear  it ! 

MANAGER 

Eh,  dear,  we  none  on  us  know  what 's  comin'  next. 
MRS.  HOLROYD  (getting  hysterical) 
Oh,  it 's  too  awful,  it 's  too  awful ! 

BLACKMORE 

You  '11  disturb  the  children. 

GRANDMOTHER 

And  you  don't  want  them  down  here. 

MANAGER 

'E  'd  no  business  to  ha'  been  left,  you  know. 


84  MRS.    HOLROYD  [act  hi 

EIGLEY 

An'  what  man,  dost  think,  wor  goin'  to  sit  him  down 
on  his  hams  an'  wait  for  a  chap  as  wouldna  say 
"  thank  yer  "  for  his  cump'ny  ?  'E  'd  bin  ready  to 
fall  out  wi'  a  flicker  o'  the  candle,  so  who  dost  think 
wor  goin'  ter  stop  when  we  knowed  'e  on'y  kep  on 
so's  to  get  shut  on  us. 

MANAGER 

Tha  'rt  quite  right,  Bill,  quite  right.  But  theer  you 
are. 

RIGLEY 

An'  if  we  'd  stopped,  what  good  would  it  ha'  done  — 

MANAGER 

No,  'appen  not,  'appen  not. 

RIGLEY 

For,  not  known  — 

MANAGER 

I  'm  sayin'  nowt  agen  thee,  neither  one  road  nor 
t  'other.  ( There  is  general  silence  — then,  to  Mrs. 
Holroyd)  I  should  think  th'  inquest  '11  be  at  th' 
New  Inn  to-morrow,  missis.     I  '11  let  you  know. 

MRS.    HOLROYD 

Will  there  have  to  be  an  inquest.? 

MANAGER 

Yes  —  there  '11  have  to  be  an  inquest.  Shall  you 
want  anybody  in,  to  stop  with  you  to-night.'^ 

MRS.    HOLROYD 

No. 

MANAGER 

Well,  then,  we  'd  best  be  goin'.  I  '11  send  my  missis 
down  first  thing  in  the  morning.  It  's  a  bad  job,  a 
bad  job,  it  is.    You  '11  be  a'  right  then? 


ACT  III]  MRS.    HOLROYD  85 

MRS.    HOLROYD 

Yes. 

MANAGER 

Well,  good-night  then  —  good-night  all. 

ALL 

Good-night.    Good-night. 

[The  Manager^  followed  by  the  two  hearers,  goes  out, 

closing  the  door, 

RIGLEY 

It 's  like  this,  missis.    I  never  should  ha'  gone,  if  he 
had  n't  wanted  us  to.  , 

MRS.    HOLROYD 

Yes,  I  know. 

RIGLEY 

'E  wanted  to  come  up  by  's  sen. 
MRS.  HOLROYD  {wear'ily) 

I  know  how  it  was,  Mr.  Riglej. 

RIGLEY 

Yes  — 

BLACKMORE 

Nobody  could  foresee. 
RIGLEY  (^shaking  his  head) 

No.    If  there  's  owt,  missis,  as  you  want  — - 

MRS.    HOLROYD 

Yes  —  I  think  there  is  n't  anything. 
RIGLEY  (after  a  moment) 

Well  —  good-night  —  we  've  worked  i'  the  same  stall 
ower  four  years  now  — 

MRS.    HOLROYD 

Yes. 

EIGLEY 

Well,  good-night,  missis. 


86  MRS.    HOLROYD  [act  in 

MRS.    HOLROYD    AND    BLACKMORE 

Good-night. 

\_The  Grandmother  all  this  time  has  been  rocking  her- 
self to  and  fro,  moaning  and  murmuring  beside  the 
dead  man.  When  Rigley  has  gone  Mrs,  Holroyd 
stands  staring  distractedly  before  her.  She  has  not 
yet  looked  at  her  husbcmd, 

GRANDMOTHER 

Have  you  got  the  things  ready,  Lizzie.? 

MBS.    HOLROYD 

What  things.'* 

GRANDMOTHER 

To  lay  the  child  out. 
MRS.  HOLROYD  {she  shuddevs) 
No  —  what.'^ 

GRANDMOTHER 

Have  n't  you  put  him  by  a  pair  o'  white  stockings, 
Bor  a  white  shirt.? 

MRS.    HOLROYD 

He  's  got  a  white  cricketing  shirt  —  but  not  white 
stockings. 

GRANDMOTHER 

Then  he  '11  have  to  have  his  father's.  Let  me  look 
at  the  shirt,  Lizzie.  {Mrs,  Holroyd  takes  one  from 
the  dresser  drawer)  This  '11  never  do  —  a  cold,  can- 
vas thing  wi'  a  turndown  collar.  I  s'll  'ave  to  fetch 
his  father's.  (Suddenly)  You  don't  want  no  other 
woman  to  touch  him,  to  wash  him  and  lay  him  out, 
do  you? 
MRS.  HOLROYD  (weeping) 
No. 

GRANDMOTHER 

Then  I  '11  fetch  him  his  father's  gear.     We  must  n't 


ACT  III]  MRS.    HOLROYD  87 

let  him  set,  he  '11  be  that  heavy,  bless  him.  {She  takes 
her  shawl)  I  shan't  be  more  than  a  few  minutes,  an' 
the  young  fellow  can  stop  here  till  I  come  back. 

BLACKMORE 

Can't  I  go  for  you,  Mrs.  Holroyd? 

GRANDMOTHER 

No.  You  could  n't  find  the  things.  We  '11  wash  him 
as  soon  as  I  get  back,  Lizzie. 

MRS.    HOLROYD 

All  right. 

[She  watches  her  mother-m-law  go  out.  Then  she 
starts,  goes  in  the  scullery  for  a  bowl,  in  which  she 
pours  warm  water.  She  takes  a  flannel  and  soap  and 
towel.     She  stands,  afraid  to  go  any  farther, 

BLACKMORE 

WeU! 

MRS.    HOLROYD 

This  is  a  judgment  on  us. 

BLACKMORE 

Why? 

MRS,    HOLROYD 

On  me,  it  is  — 

BLACKMORE 

How? 

MRS.    HOLROYD 

It  is. 

[Blackmore  shakes  his  head, 

MRS.    HOLROYD 

Yesterday  you  talked  of  murdering  him. 

BLACKMORE 

Well! 

MRS.    HOLROYD 

Now  we  've  done  it. 


88  MRS.    HOLROYD  [act  hi 

BLACKMORE 

How? 

MRS.    HOLROYD 

He  'd  have  come  up  with  the  others,  if  he  had  n't  felt 
—  felt  me  murdering  him. 

BLACKMORE 

But  we  can't  help  it. 

MRS.    HOLROYD 

It 's  my  fault. 

BLACKMORE 

Don't  be  like  that ! 
MRS.  HOLROYD  {looTiiug  ttt  him  —  then  indicating  her 
husband)  I  dare  n't  see  him. 

BLACKMORE 

No.? 

MRS.    HOLROYD 

I  've  killed  him,  that  is  all. 

BLACKMORE 

No,  you  have  n't. 

MRS.    HOLROYD 

Yes,  I  have. 

BLACKMORE 

We  could  n't  help  it. 

MRS.    HOLROYD 

If  he  had  n't  felt,  if  he  had  n't  known,  he  would  n't 
have  stayed,  he  'd  have  come  up  with  the  rest. 

BLACKMORE 

Well,  and  even  if  it  was  so,  we  can't  help  it  now. 

MRS.    HOLROYD 

But  we  've  killed  him. 

BLACKMORE 

Ah,  I  'm  tired  — 


ACT  III]  MRS.    HOLROYD  89 

MRS.    HOLROYD 

Yes. 
BLACKMORE  (after  a  pause) 
ShaU  I  stay? 

MRS.    HOLROYD 

I  —  I  dare  n't  be  alone  with  him. 
BLACKMORE  (sitting  down) 
No. 

MRS.    HOLROYD 

I  don't  love  him.  Now  he  's  dead.  I  don't  love  him. 
He  lies  like  he  did  yesterday. 

BLACKMORE 

I  suppose,  being  dead  —  I  don't  know  — 

MRS.    HOLROYD 

I  think  you  'd  better  go. 
BLACKMORE  (^Vising) 
Tell  me. 

MRS.    HOLROYD 

Yes. 

BLACKMORE 

You  want  me  to  go. 

MRS.    HOLROYD 

No  —  but  do  go.    (They  look  at  each  other) 

BLACKMORE 

I  shall  come  to-morrow  (he  goes  out) 
[Mrs.  Holroyd  stands  very  stiff,  as  if  afraid  of  the 
d^ad  man>.     Then  she  stoops  down  and  begins  to 
sponge  his  face,  talking  to  him, 

MRS.    HOLROYD 

My  dear,  my  dear  —  oh,  my  dear !  I  can't  bear  it, 
my  dear  —  you  should  n't  have  done  it.  You 
should  n't  have  done  it.  Oh  —  I  can't  bear  it,  for 
you.     Why  couldn't  I  do  anything  for  jou?     The 


90  MRS.    HOLROYD  [act  in 

children's  father  —  my  dear  —  I  was  n't  good  to 
you.  But  you  should  n't  have  done  this  to  me.  Oh, 
dear,  oh,  dear!  Did  it  hurt  you?  —  oh,  my  dear,  it 
hurt  you  —  oh,  I  can't  bear  it.  No,  things  are  n't 
fair  —  we  went  wrong,  mj  dear.  I  never  loved  you 
enough  —  I  never  did.  What  a  shame  for  you  !  It 
was  a  shame.  But  you  did  n't  —  you  didn't  try.  I 
would  have  loved  you  —  I  tried  hard.  What  a  shame 
for  you !  It  was  so  cruel  for  you.  You  could  n't  help 
it  —  my  dear,  my  dear.  You  could  n't  help  it.  And 
I  can't  do  anything  for  you,  and  it  hurt  you  so! 
(She  weeps  bitterly,  so  her  tears  fall  on  the  dead 
man's  face;  suddenly/  she  kisses  him)  My  dear,  my 
dear,  what  can  I  do  for  you,  what  can  I?  (She 
weeps  as  she  wipes  his  face  gently) 
GRANDMOTHER  (enters,  puts  a  bundle  on  the  table,  takes 
off  her  shawl)    You  're  not  all  by  yourself.'* 

MRS.    HOLROYD 

Yes. 

GRANDMOTHER 

It 's  a  wonder  you  're  not  frightened.  You  Ve  not 
washed  his  face, 

MRS.    HOLROYD 

Why  should  I  be  afraid  of  him  — now,  mother.? 
GRANDMOTHER  (weeping) 

Ay,  poor  lamb,  I  can't  think  as  ever  you  could  have 
had  reason  to  be  frightened  of  him,  Lizzie. 

MRS.    HOLROYD 

Yes  —  once  — 

GRANDMOTHER 

Oh,  but  he  went  wrong.  An'  he  was  a  taking  lad,  as 
iver  was.  (^She  cries  pitifully)  And  when  I  waked 
his  father  up  and  told  him,  he  sat  up  in  bed  staring 


ACT  m]  MRS.    HOLROYD  91 

over  his  whiskers,  and  said  should  he  come  up?  But 
when  I  'd  managed  to  find  the  shirt  and  things,  he 
was  still  in  bed.  You  don't  know  what  it  is  to  live 
with  a  man  that  has  no  feeling.  But  you  've  washed 
him,  Lizzie .'' 

MRS.    HOLROYD 

I  was  finishing  his  head. 

GRANDMOTHER 

Let  me  do  it,  child. 

MRS.    HOI.ROYD 

I  '11  finish  that. 

GRANDMOTHER 

Poor  lamb  —  poor  dear  lamb !  Yet  I  would  n't  wish 
him  back,  Lizzie.  He  must  ha'  died  peaceful,  Lizzie. 
He  seems  to  be  smiling.  He  always  had  such  a  rare 
smile  on  him  —  not  that  he  's  smiled  much  of  late  — 

MRS.    HOLROYD 

I  loved  him  for  that. 

GRANDMOTHER 

Ay  —  my  poor  child  —  my  poor  child. 

MRS.    HOLROYD 

He  looks  nice,  mother. 

GRANDMOTHER 

I  hope  he  made  his  peace  with  the  Lord. 

MRS.    HOLROYD 

Yes. 

GRANDMOTHER 

If  he  had  n't  time  to  make  his  peace  with  the  Lord, 
I  've  no  hopes  of  him.     Dear  o'  me,  dear  o'  me.     Is 
there  another  bit  of  flannel  anywhere.? 
\_Mrs.  Holroyd  rises  and  brings  a  piece.    The  Grand- 
mother begins  to  wash  the  breast  of  the  dead  man. 


92  MRS.    HOLROYD  [act  m 

GRANDMOTHER 

Well,  I  hope  you  '11  be  true  to  his  children  at  least, 
Lizzie.  (Mrs.  Holroyd  weeps  —  the  old  woman  con- 
tinues her  washing)  Eh  —  and  he  's  fair  as  a  lily. 
Did  you  ever  see  a  man  with  a  whiter  skin  —  and  flesh 
as  fine  as  the  driven  snow.  He  's  beautiful,  he  is,  the 
lamb.  Many  's  the  time  I  've  looked  at  him,  and  I  've 
felt  proud  of  him,  I  have.  And  now  he  lies  here.  And 
such  arms  on  'im !  Look  at  the  vaccination  marks, 
Lizzie.  When  I  took  him  to  be  vaccinated,  he  had  a 
little  pink  bonnet  with  a  feather.  {Weeps)  Don't 
cry,  my  girl,  don't.  Sit  up  an'  wash  him  a'  that  side, 
or  we  s'll  never  have  him  done.  Oh,  Lizzie ! 
MRS.  HOLROYD  {sitting  up,  startled) 
What  — what.? 

GRANDMOTHER 

Look  at  his  poor  hand! 

[She  holds  up  the  right  hand.    The  nails  are  bloody, 

MRS.    HOLROYD 

Oh,  no!    Oh,  no!    No! 
[Both  women  weep, 
GRANDMOTHER  {after  awMle) 
We  maun  get  on,  Lizzie. 

MRS.  HOLROYD    {sitting  Up) 

I  can't  touch  his  hands. 

GRANDMOTHER 

But  I  'm  his  mother  —  there  's  nothing  I  could  n't 
do  for  him. 

MRS.    HOLROYD 

I  don't  care  —  I  don't  care. 

GRANDMOTHER 

Prithee,  prithee,  Lizzie,  I  don't  want  thee  goin'  oif, 
Lizzie. 


ACT  III]  MRS.    HOLROYD  93 

MRS.  HOLROYD  (moaning) 
Oh,  what  shall  I  do ! 

GRANDMOTHER 

Why,  go  thee  an'  get  his  feet  washed.     He  's  setting 
stiff,  and  how  shall  we  get  him  laid  out  ? 
[Mrs.  Holroyd,  sobbing,  goes,  kneels  at  the  mmer^s 
feet,  and  begins  pulling  off  the  great  boots, 

GRANDMOTHER 

There  's  hardly  a  mark  on  him.  Eh,  what  a  man  he 
is !  I  've  had  some  fine  sons,  Lizzie,  I  've  had  some 
big  men  of  sons. 

MRS.    HOLROYD 

He  was  always  a  lot  whiter  than  me.  And  he  used  to 
chaff  me. 

GRANDMOTHER 

But  his  poor  hands!  I  used  to  thank  God  for  my 
children,  but  they  're  rods  o'  trouble,  Lizzie,  they  are. 
Unfasten  his  belt,  child.  Me  mun  get  his  things  off 
soon,  or  else  we  s'll  have  such  a  job. 
[Mrs.  Holroyd,  having  dragged  off  the  boots,  rises. 
She  is  weeping. 

CURTAIN 


UNIVERSITY  OF  CALIFORNIA,  LOS  ANGELES 

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